Scanned from the collections of
The Library of Congress
jrr
AUDIO-VISUAL CONSERVATION
at Tfu- LIBRARY >j 'CONGRESS
ff»i
■ ~ - JL
Packard Campus
for Audio Visual Conservation
www.loc.gov/avconservation
Magazine off the Amateur Cinema League, Inc
C2??2j££el<Jr-s*
' ' S7?7^C*-JLeJrL*4-J
FEBRUARY
25c
JANIJ ARY, 1942
77? k*6S
EVERY NEW MEMBER GETS*-
The ACL Movie Book
IT'S the latest book on amateur movie making! . . . It's the
biggest book about the subject written in the past decade!
311 PAGES— OVER 100 I LLUSTRATIONS— FRAME
ENLARGEMENTS— PHOTOGRAPHS— DRAWINGS!
INTERESTING — NEW IDEAS — SIMPLY WRIT-
TEN— ACCURATE— COMPLETE— FULL INDEX.
Written by the staff of the Amateur Cinema League — com-
piled from their experiences in serving thousands of movie
makers for over a decade, this book represents the latest
and simplest cine technigue. It is based on what amateurs
do. It tells you what you want to know because it comes
from the needs and guestions of over 21,000 League mem-
bers— every one a real movie maker.
The new book is packed with information and it
is simply written in an informal style. You will
find it fascinating, and you may be sure that the
information is correct — IT'S AN ACL PUBLICA-
TION.
GET THIS NEW BOOK IN ADDITION TO THE
SERVICES AND PUBLICATIONS LISTED BELOW
ALL FOR $5.00 A YEAR
* MOVIE MAKERS . . . Membership includes a sub-
scription to Movie Makers monthly, which covers
every phase of amateur and practical filming.
Each month there are articles for the beginner as
well as for the experienced movie maker.
it Technical consulting service. . . Any League mem-
ber can put his movie making problems up to the
technical consultant, and he will receive prompt,
detailed service.
it Continuity and film planning service . . . The con-
tinuity consultant will aid you in planning specific
films by offering you continuity and treatment
suggestions, ideas on editing and title wordings.
it Club service . . . Those who wish to organize a
club — either for the production of films or for the
interchange of ideas between cameramen — will
obtain full aid.
it Film review service . . . You may send films to the
League for criticism and review.
it Booklets and service sheets . . . These are available
to all members. Booklets are sent automatically,
as published, to members who request them. Book-
lets now current are:
Color filming — 27 pages, illustrated
Titling technique — 32 pages
Featuring the family — ?4 pages
Lighting personal movies — 37 pages, illus-
trated
Films and filters — 31 pages, illustrated
Building a Dual Turntable — 30 pages, illus-
trated
it Equipment service . . . The League aids members
in locating new equipment.
it Film Exchange ... A member may list his films
for temporary loan among other members and will
receive in return a list of films offered by other
members.
it Special services ... in two important fields are
available. Through the Film Review Chart a mem-
ber jean get particularly efficient criticism on his
reels. By means of the Film Treatment Chart, a
member may secure individually prepared film
plans and continuity outlines. These charts are
supplied on request to members only.
AMATEUR CINEMA LEAGUE, Inc. 1
420 Lexington Ave. Date I
New York. N. Y., U. S. A.
I
I wish to become a member oi AMATEUR CINEMA LEAGUE, Inc. My remittance for $5.00, |
made payable to AMATEUR CINEMA LEAGUE, Inc., is enclosed in payment of dues. Of this amount,
I direct that $2 be applied to a year's subscription to MOVIE MAKERS. (To nonmembers, subscrip-
tion to MOVIE MAKERS is $3 in the United States and possessions; $3.50 in Canada, $3.50 in other
countries.)
MEMBERSHIP $5 a year
Name
Street
city Pnfal&®heT.'. a. Mnd. . sh »*.* ., state
* id Jan. '42 ■
GET THESE INDISPENSABLE
FILMING AIDS AT ONCE FOR
Five dollars a year
Amateur Cinema League, inc.
420 Lexington Ave. New York, New York, U. S. A.
^Hd^^e^f^^^ceaZb^fp
The Eskimo's life is so hard that he seldom
smiles or jokes. True or false?
It was proved in 1941 that naval power
is no longer important. True or false?
In bowling, fast balls always knock down
more pins than slow balls. True or false?
FIND OUT THE "MOVIQUIZ" WAY!
Play
... a fascinating new game
. . . entertaining and educational
. . . for children and adults
How much do you, your children, and your friends know about
America? About our great National Parks and other scenic
wonders ? About the world and its peoples ? About history,
current events, sports, and bird life?
Here's a delightful new way to measure that knowledge and,
more important, to increase it tremendously . . . while having
a lot of fun and good fellowship. Play Moviquiz!
HOW TO PLAY MOVIQUIZ
Go to your Filmo dealer and rent or
purchase one or more B&H Movi-
quiz Films. The Moviquiz kit, in-
cluding rules, question sheets, and
answers, will be supplied at a cost
of only 2 5 cents for each film.
Before projecting a film, have each
participant check what he or she
thinks are the correct answers to the
Quiz Sheet questions. Then show
the film, and listen for the expres-
sions of elation (or otherwise ) as the
film reveals the true answers. After-
ward, the papers may be graded and,
if you wish, prizes may be awarded.
Play Moviquiz once, and you'll
make it a regular feature of all
gatherings in your home! You'll be
amazed at how Moviquiz deepens
children's interest in informative
films ... at how much more they
learn, this stimulating new way.
YOU PICK YOUR QUIZ SUBJECTS
It's good quiz technique, of course,
to select subjects suitable for the
age level and knowledge of those
who play the game. So that you may
follow this good practice, Bell &
Howell offers Moviquiz Films in
wide diversity . . . offers a group of
films, with more to follow, under
each of these classifications:
See America First • Our Colorful
World • North American Birds •
History and Current Events • Sports
• Handicrafts and Hobbies
Stage your first Moviquiz this week
end. See your Filmo dealer today.
Get These New Film Catalogs
Not only the Moviquiz Films, but
thousands of other fine films for home
movie programs, are described in
these three new Filmosound Library
Catalogs. Free to 16mm. sound pro-
jector owners; 2 5c each to others.
Mark coupon for catalogs wanted.
Bell & Howell Company, Chicago;
Washington, D. C; London.
What "All-gear Drive" Means in
Filmo
Projectors
When we say that Filmo
Master 8mm. and 16mm. Pro-
jectors have all-gear drive, we
mean that all power trans-
mission, visible and invisible,
is done without spring or
chain belts. B&H construc-
tion like that pictured here
frees you from handling oily
reel-spindle belts, eliminates
chains which wear, jerk, and
become noisy, and gives you
positive, quiet drive, always.
During manufacture, as-
sembly, and testing of Filmo
Projectors, 2800 inspections
assure meeting B&H stand-
ards of precision. Filmo
Master Projector, 16mm.,
$169-60; 8mm., $116.25.
Why B&H Lamps Give a
Bigger Money's Worth
A projection lamp rating
of 1000, 750, or 500 watts
doesn't guarantee delivery
of the indicated light to
your screen. As much as
1/3 of the light can be lost
if the lamp filament is not
centered in the projector
optical system. Filament
location varies as much as
3/16-inch from the ideal!
That's a tremendous vari-
ation, for the filament area
is only Vi-inch square.
B&H lamps are no bet-
ter than others when we
get them. But B&H in-
spection rejects all except
the best. In the machine
shown here, each accepted lamp is placed with
its filament in the ideal location, and clamped
there. Then the machine brazes the B&H pre-
focusing ring to the lamp base. Thus each lamp
is a custom job, "tailored" for your Filmo!
A lamp so prepared can't be put into a Filmo
Projector in any but the one position where all
its useful light will be available for the screen.
That's why Filmo Projectors and B&H lamps
give you the light you pay jor!
Filmosound "Utility"
For showing sound films
at home. Presents 16mm.
silent films, too — a real,
all-purpose projector.
Ask your dealer for a
demonstration, and for a
trade-in allowance on
your silent projector.
Send Coupon for
Complete Information
New York; Hollywood;
Established 1907
PRECISION-
MADE BY
BELL & HOWELL COMPANY
1843 Larchmont Ave., Chicago, III.
Please send complete details about: ( ) Movi-
quiz Films; ( ) 8mm. projectors; ( ) 16mm.
silent projectors; ( ) Filmosounds.
Send catalogs of 16mm. films: ( ) educational;
( ) recreational; ( ) religious. I own < > ^"nt
proj ector of make.
Name
Address
Ci*y State MM 1-42
WkOHuQleui
CAMERAandPROJECTOR
I can give my family and friends outstanding
home movie entertainment."
The Revere 8 mm Camera, with its fine lens
and precision mechanism, takes marvelous
movies in natural colors or in sparkling hlack
and white. It is easy to load and use and has
many advanced features, including automatic
film-loop sprocket, 5 speeds, parallax-cor-
rected view finder with large eye-piece, and
strong five-foot spring motor.
The Revere 8 mm Projector is today's best
buy, because it leads in features that assure
easier and better projection and full protec-
tion for film.
See Revere equipment at your dealer's! Send
for literature! Revere Camera Co., Dept.
1MM, 320 E. 21st St., Chicago, 111.
REVERE ,,99,,
CAMERA
has a rotating turret head
which permits instant
change ot lens equipment.
It holds three screw-type
lenses and has an extra
view finder for use with
telephoto lenses. Complete
with one Wollensak F2.5
lens $77. 50
The Revere Projector can be
threaded quickly. Hinged roller-
film guides (such as are found only
in high priced 16 mm projectors),
hold the film in place after it has
been threaded on the upper and
lower sprockets and assure long
film life.
REVERE "80"
PROJECTOR
excels in screen brilliance and pro-
fessionally smooth performance.
Heavy Duty AC-DC Motor
Double Blower Cooling System for
lamp and film
High-ratio Duplex Shuttle Film
Movement
Enclosed Precision Mechanism (no
belts)
Fast Power Rewind
Manual Clutch for "Stills"
Radio Interference Eliminator
Complete with long-life 500 watt
lamp, FI.6 lens and one 300 foot
reel $75. OO
REVERE "85"
PROJECTOR
Same as "80" plus Micro - Tilt,
Duo-Shield Light Diffuser, Beam
Threading Light and Carrying
Case $89. 50
REVERE "88"
CAMERA
uses economical 8
mm film. Automatic
film-loop sprocket.
Eastman - licensed
spool and spindle. 5
speeds, 8, 12, 16, 24,
and 32 frames per
second. Focal plane
160 degree rotary
disc shutter. Positive
speed governor con-
trol. Precision mech-
anism with helically
cut bronze and steel
gears. Com-
plete with
Wollensak F3.5
lens ___$38.50
Revere
REVERE PRECISION CONSTRUCTION
To insure smooth operation and rock-steady movies,
Revere checks the quality and measurements of all
parts in Revere Cameras with the most modern
scientific instruments. As illustrated above, the
spindles are inspected with micrometer gauges.
They must not vary more than .00025 of an inch
MAKERS
The Magazine of the Amateur Cinema League, Inc.
C O I\I E N S
Volume 17
January, 1942
Number 1
Cover design Visn(d FacU
Free film reviews • o
How we can serve, editorial o
To Members of the Amateur Cinema League in
Wartime filming restrictions 11
Filming swift skis Benjamin F. Father, jr., A CL 13
There's fun in titles Elaine Carlson Westby, ACL 14
Make your own dolly Tom Griberg, ACL 15
Home lighting and its results j^
Practical films Gordon L. Hough 18
How libraries use movies Gerald D. McDonald 19
A club shows its work Ormal I. Sprungman, ACL 20
Amateur clubs James W. Moore, ACL 21
The c,inic Kenneth F. Space, ACL 24
News of the industry Russell C. Holslag, ACL 26
Films you'll want to show 27
Subterranean movie 33
Closeups .34
Club has rating chart Dean H_ Ashton, ACL 38
RUSSELL C. HOLSLAG
Advertising Manager
JAMES W. MOORE
Continuity Editor
KENNETH F. SPACE
Technical Editor
ALEXANDER de CANEDO
Art Editor
ARTHUR L. GALE.
Editor
I ▼ M \^W ^r
is published monthly in New York, N. Y., by the Amateur Cinema League, Inc.
Subscription rate $3.00 a year postpaid (Canada and Foreign $3.50); to members of the
Amateur Cinema League, Inc., $2.00 a year, postpaid; single copies 25c (in U. S. A.). On
sale at photographic dealers everywhere. Entered as second class matter, August 3, 1927,
at the Post Office at New York, N. Y. under act of March 3, 1879. Copyright, 1941, by the
Amateur Cinema League, Inc. Title registered at United States Patent Office. Successor to
Amateur Movie Makers, title registered at United States Patent Office. Editorial and
Publication Office: 420 Lexington Avenue, New York, N. Y., U. S. A. Telephone MOhawk
4-0270. Advertising rates on application. Forms close on 10th of preceding month.
CHANGES OF ADDRESS: A request for a change of address must reach us at least by
the twelfth of the month preceding the publication of the number of Movie Makers with
which it is to take effect. Duplicate copies cannot be sent when a number of the magazine
does not reach you because of failure to send in this advance notice. The Post Office will
not forward copies unless extra postage is provided by you.
DA-LITE
SCREENS
Scene from "On the
Right Track," new
sound slidefilm of The
Cleveland Tractor
Company, which uses
Da-Lite Screens exclu-
sively for the follow-
ing reason as stated
by Mr. S. C. Brown,
Advertising Man-
ager, who writes —
"They are the best
on the market . . .
the Da -Lite Glass-
Beaded Screen gives
better results under
all conditions than
any other screen."
'JH
THE DA-LITE CHALLENGER ;s the only screen with
square tubing in both the center rod of tripod and extension support
for perfect screen alignment and unequalled rigidity.
PARTIAL LIST OF PROMINENT USERS
Armour & Co.
Continental Oil Co.
The Cleveland Tractor Co.
The Mercury Corp.
Lion Oil Refining Co.
United Wallpaper Factories,
Inc.
The Firestone Tire & Rubber
Co.
International Harvester Co.
Nash Motors Division, Nash
Kelvinator Corp.
General Mills, Inc.
Illinois Central System
Smith Brothers Mfg. Co.
Great Northern Railway Co.
Edison General Electric Appli-
ance Co.
The Pure Oil Co.
Youngstown Pressed Steel Divi-
sion of Mullins Mfg. Corp.
Plymouth Division, Chrysler
Corp.
General Electric X-Ray Corp.
Deere & Co.
Savings Bank Association of
New Hampshire
Kelvinator Division, Nash Kel-
vinator Corp.
Minneapolis-Moline Power Im-
plement Co.
Oldsmobile Division, General
Motors Sales Corp.
H. J. Heinz Co.
York Ice Machinery Corp.
The Toledo Steel Products Co.
The Crosley Corp.
The Perfect Circle Co.
Chrysler Division, Chrysler
Corp.
Ford Motor Co.
J. I. Case Co.
Michigan State Board of Con-
trol for Vocational Education
The Todd Co., Inc.
Charles P. Cochrane Co.
— as Shown hy
Sales Management's Survey
of cJ-naustrial QJtira Users.
In choosing a screen for your home movies
or stills, consider the experience of leading
users of industrial films. With thousands of
dollars invested in their film productions,
they are careful to select only screens that
show their pictures at their best.
It is significant that the latest survey of these
users reveals an overwhelming preference for
Da-Lite Screens. The October 10th, 1941
issue of Sales Management magazine cover-
ing the leading business films of the year,
shows that of 29 companies which mentioned
makes of screens used, 27 listed only Da-Lite.
In industry, homes, schools, churches, thea-
tres— wherever the importance of brilliant,
sharp pictures and utmost convenience is
recognized, critical buyers choose Da-Lite
Screens — the leader for 33 years and now
more popular than ever. Your dealer has
Da-Lite Screens in the style and size you want,
from $2.00* up. See them today! Write for
literature! Da-Lite Screen Company, Inc.,
Dept. 1MM, 2711 North Crawford Avenue,
Chicago, Illinois.
*Prices slightly higher on Pacific Coast.
A GUARANTEE
That Means Something
The beads on a Da-Lite Glass-Beaded Screen are
guaranteed not to shatter off. The entire screen, in-
cluding fabric and mounting, is guaranteed to be free
from defects in materials and workmanship. The fab-
ric is specially processed to stay white and pliable.
Because dust and dirt accumulate on any screen over
a period of years and destroy its original brilliance,
Da-Lite does not guarantee permanent whiteness, for
to do so would be meaningless. The reliability of
Da-Lite Screens has been proved by thousands of
users over a period of 33 years.
REC. U.S. PAT. OFF.
Iffi/ieu 1/cn* Guy,
MOVIE MAKERS
grim history . . on film . . for
now and posterity. The be-
ginning of the most tremen-
dous struggle of our day!
The film every projector
owner must possess! Don't
wait! Get Castle Films'
"JAPS BOMB U. S. A."
AT YOUR PHOTO DEALER'S OR SEND HANDY ORDER FORM TO
YOUR PHOTO DEALER TODAY! NOW!
All Castle 16 mm.
films are processed
by VAP-0-RATE.
All 8 mm.
Castle films are
also treated.
CASTLE FILMS
Please send Castle Films'
"JAPS BOMB U. S. A." in the
size and edition checked.
Name.
*■■■■■«*
"**■■■
Address-
City
RCA Building
New York
Field Building
Chicago
Russ Building
San Francisco
State-
8 mm.
Headline $| ^r
50 Feet I./3
Complete $/r JT/\
180 Feet O.OU
16 mm.
Headline $fs yr
100 Feet X./O
Complete $Q 7C
360 Feet O./ 3
Sound $17 p/\
350 Feet 1' . JV
FREE FILM REVIEWS
JANUARY 1942
You can borrow these new publicity movies without charge
THESE films, the latest publicity pic-
tures produced, are offered on loan,
without charge. Some may be available
to individuals, and others are available
only to clubs or groups. In certain cases,
the type of organization to which the
films are lent without charge is speci-
fied. To borrow these films for a screen-
ing, write directly to the distributor,
whose address is given. (Note carefully
the restrictions mentioned in each case.)
LATEST RELEASES
Sand and Flame, 766 feet of 16mm.,
or 1915 feet of 35mm., sound on film,
color; produced by the Jam Handy
Organization.
Offered to: groups only.
Available from: Department of
Public Relations, General Motors Cor-
poration. 1775 Broadway, New York,
N. Y.
Sand and Flame contrasts the old
method of glass manufacture with the
new one of making glass with the aid
of sand and flame. From the elemen-
tary production of such objects as
bottles, window panes, plate glass and
thermometers, we next learn how glass
is blown into intricate patterns and
how sand is transformed into a cloth
of beautiful color and texture.
Educator's comment: This excel-
lent film may be used in high school
general science or chemistry classes,
to introduce glass making, also in
junior high school or slightly lower
grades for groups interested in house
or car construction, modern manufac-
turing methods or glass in general. —
E. D. C.
Unseen Worlds, 1 reel, 16mm. and
35mm. sound on film, black and white;
produced by William J. Ganz Company.
Offered to: groups only.
Available from: William J. Ganz
Company, 19 East 47th Street, New
York, N. Y.
This film describes in detail the elec-
tron microscope, one of the most widely
discussed scientific developments in re-
cent years. This new marvel, invented
by the RCA Manufacturing Company,
opens to human eyes a new universe
of objects smaller than light waves and
provides magnifications of 50.000 to
150.000 diameters — far beyond the
range of light microscopes. Commenc-
ing with scenes of Leeuwenhoek and
Pasteur, the film discusses the light
microscope and its contribution to sci-
entific progress. Finally, the operation
■of the RCA electron microscope is de-
scribed, and some electron micro-
graphs are flashed on the screen.
Educator's comment: Unseen
Worlds is a good film to use in high
school or college science classes study-
ing microscopes. — E. D. C.
How Not to Conduct a Meeting,
369 feet of 16mm., or 941 feet of
35mm., sound on film, black and white;
produced by Sound Masters.
Offered to: groups only.
Available from: Department of
Public Relations. General Motors Cor-
poration, 1775 Broadway, New York,
N. Y.
In How Not to Conduct a Meeting,
Colonel Stoopnagle, in his usual hu-
morous vein, acts out the common
faults in planning and conducting
meetings; there is disagreement about
the ventilation in the room, queer
noises commence for no apparent rea-
son, and he is frequently interrupted
by telephone calls. Although most of
the breaks in the speech are absurd
and highly improbable, there are a
number of sound points set forth.
Educator's comment: Speech stu-
dents or English pupils in high schools
or adult schools may be stimulated by
this picture to analyze more critically
their own faults, but the most impor-
tant mistakes of speakers are not con-
sidered. Some teachers who showed it
in their classes thought it worthless,
but a few said that it fixed one or two
points and led to an interesting dis-
cussion of public speaking. — E. D. C.
Unsung Heroes, 1200 feet. 16mm.
sound on film, color; produced by The
Calvin Company.
Offered to: groups.
Available from: Visual Education
Section, Westinghouse Electric & Man-
ufacturing Company, Mansfield, Ohio.
Unsung Heroes tells of the extreme
care used in manufacturing electric re-
frigerators and of the exacting tests
for durability, accuracy and silence of
operation. Although the film is based
on the familiar "trip through the fac-
tory" pattern, it has great interest for
consumer audiences.
Educator's comment: This film is
usable in high school classes in sales-
manship.— E. D. C.
Because Somebody Cares, 400 feet,
16mm. sound on film, black and white;
produced by Willard Pictures.
Offered to: groups only.
Available from: Good Shepherd
Home. Allentown, Pa.
This film shows in warm, human
terms how the kindly act of John
Raker, in taking some of the poor chil-
dren of the neighborhood into his
home, has blossomed into the Good
Shepherd Home of today. With a ca-
pacity of 200 persons, the home now
takes grownups as well as children,
and it makes no distinctions as to race
or color. Because Somebody Cares
stresses the people rather than the
physical plant, and the home's willing-
ness to help any and all is made clear
in the narration by Lowell Thomas.
Roses at Home, 900 feet, 16mm. silent,
color; produced by W. H. Mecom,
Houston, Texas.
Offered to: groups, especially gar-
den clubs.
Available from: W. H. Mecom,
Freeport Sulphur Company, 1412 Com-
merce Building, Houston, Texas.
Roses at Home, filmed in the country
which produces one third of America's
rose crop, tells in an interesting man-
ner the complete story of growing rose-
bushes, from the initial planting to the
many attractive uses in the home. Cul-
tivation, fertilizing, irrigation and dis-
ease control are some of the many sub-
jects that are touched upon in this
movie.
Although some portions are quite
technical, necessitating some horticul-
tural knowledge, the film appeals to
anybody who likes flowers.
RECENT RELEASES
Modern Rug and Carpet Making, 550
feet, 16mm. sound on film, black and
white and color; produced by Audio
Productions, Inc., revised by Films of
Commerce Company, Inc.
Offered to: high school and adult
groups.
Available from: Films of Commerce
Company, Inc., 21 West 46th Street,
New York, N. Y.
This film depicts the manufacture of
rugs and carpets in a large modern
mill. Every phase is clearly shown and
explained, including the designing of
patterns and the blending and match-
ing of colors by the designers. We see
methods of controlling manufacturing
processes by exacting physical and
chemical checks. The movie concludes
with a color sequence of a variety of
rugs and carpets in colors and patterns
to harmonize with walls, draperies and
furnishings.
Educator's comment: This film will
be found very useful for classes, from
about 4th grade through high school,
that are studying rug making. — E.D.C.
HOW WE CAN SERVE
THE year of 1942 brings us extraordinary condi-
tions. Things that we have believed were normal
will give way to dislocations of almost every
phase of our daily lives. We shall have to do new
things and to refrain from doing accustomed things.
Above all, we shall frequently be called upon to
justify our actions by the yardstick of war prosecu-
tion. If what we want to do, or to keep from doing,
does not square with war conditions, it is entirely
possible that we may have to make it square or give
it up.
Movie making is an activity that can perform real
service in time of war. It is serving the armed
forces now; it is being used in industrial training for
making armaments; it has been used to some extent
in training for civilian defense. The kind of movies
that substandard filmers make are not those that
serve for entertainment and the presumed upholding
of civilian morale. Our pictures are much more di-
rectly tied into the processes of war, if they are
anything else than private and personal expressions
of a hobby.
If personal filming, as a whole, is called upon to
justify itself, this justification can come best from
thousands of individual instances, rather than from a
national effort organized by the Amateur Cinema
League. The League, of course, is ready, if it is needed,
and its headquarters are surveying the whole field of
its possible service. But what can be done by indi-
vidual movie makers is of the highest importance in
building up an impressive total of help given in many
localities and brought forth by local conditions and
needs.
Every movie maker can add to the standing of our
hobby, in the war effort of our country, if he will
look over his own neighborhood, to discover what
opportunities may exist for him to aid in some phase
of war action. If a large industrial concern is ac-
tively engaged in armament production, it almost
certainly has a local plan of industrial training, into
which films can be fitted. The local officers of the
civilian defense effort are making bricks without
straw, in many cases, and would welcome a training
film, to be used in the instruction of the civil popu-
lation for defense. If an educational institution in
your neighborhood has defense courses or is training
armament workers, it could use motion pictures. It is
not necessary to wait for a complete national plan,
if you are willing to do your cinematographic part
in the service of the nation. Your own friends and
neighbors who are involved in the problem can tell
you what they want and need.
If you find it possible to hunt for ways in which
your cine camera can do one of these necessary jobs,
do not fail to let the headquarters of the Amateur
Cinema League know what you are doing, so that we
may have a full record of individual instances in
which personal movies have aided the war effort. This
information may be of very real value to the cause
of amateur movies in the months that lie ahead.
The AMATEUR CINEMA LEAGUE, Inc.
whose voice is Movie Makers, is the international or-
ganization of movie amateurs, founded in 1926 and
now serving filmers in many countries. The League's
consulting services advise amateurs on plan and execu-
tion of their films, both as to cinematographic tech-
nique and continuity. It serves amateur motion picture
clubs in organization, conduct and program and pro-
vides for them a film exchange. It issues booklets. It
maintains various special services for members. The
League completely owns and operates Movie Makers.
The directors listed below are a sufficient warrant of
the high type of our association. Your membership
is invited. Five dollars a year.
Hiram Percy Maxim, Founder
DIRECTORS OF THE LEAGUE
STEPHEN F. VOORHEES, President
JOHN V. HANSEN, Vice President
ETHELBERT WARFIELD, Treasurer
C. R. DOOLEY
MRS. L. S. GALVIN
H. EARL HOOVER .
HAROLD E. B. SPEIGHT
FLOYD L. VANDERPOEL
T. A. WILLARD .
ROY W. WINTON, Managing Director
. New York City
Washington, D. C.
. New York City
. New York City
. Lima, Ohio
Chicago, 111.
. Ithaca, N. Y.
Litchfield, Conn.
Beverly Hills, Calif.
. New York City
Address all inquiries to
AMATEUR CINEMA LEAGUE, INC.
420 LEXINGTON AVE., NEW YORK CITY. U.S.A.
Amateur Cinema League offices are open from
9:00 A.M. to 5:00 P.M., Mondays through Fridays
TO MEMBERS OF THE
AMATEUR CINEMA LEAGUE
WAR has released the tremendous energy of the American people.
I am proud to tell you that, following at once upon the Japanese
attack, Amateur Cinema League members have telephoned, tele-
graphed and written to League headquarters to find out what we movie makers
can do for our country.
The Amateur Cinema League has offered its services to our government.
When official replies have been received, we shall know what is expected from
us. But we need not wait. Here are definite things that we can do, each member
in his own town and city, all over our land.
* 1. CIVILIAN DEFENSE. Report to the local Office of Civilian Defense
that you are willing to make movies and to project movies. If you belong to a
movie club, urge your club to offer its services as a unit. Training by films calls
both for filmers and projectionists.
* 2. AMERICAN RED CROSS. Tell your local Red Cross officials, and
ask your movie club officers to tell them, that you can make and show movies, to
aid Red Cross first aid training.
* 3. UNITED SERVICE ORGANIZATIONS. If there is a U.S.O.
club in your community, or in a village adjacent to it, report to the club manager,
telling him what films you have that can be shown in his club, and offer to project
them. Get your local movie club in touch with the U.S.O. club. Arrange, if need
be, for the rental of good substandard library films, for projection. Suggest the
possibility of camp newsreels, to be made by your movie club, for showing at
the U.S.O. club.
Here are concrete ways of serving the country at once. Do not fear that what
you offer may be unacceptable. It is better to offer too much than too little.
Follow the war time rules for filming, that are printed on the opposite page.
The Amateur Cinema League is the focal center of personal movie war effort.
Ask League headquarters for the help that you need. Get League advice about
your film plans for national defense.
Tell headquarters what you do, because we need a complete record here.
Watch Movie Makers carefully for information about other tasks that may
be assigned to us.
Give the information on this page to other movie makers, so that we all may
work together for the country. Tell them to keep in touch with the Amateur
Cinema League.
Our members are capable and dependable. They have something that the
country needs now. I am confident that they will do their full part in our great
national war effort.
10
DECEMBER 9, 1941
PRESIDENT
11
0
JUST eight days after the American declaration of war on
Japan, two unsuspecting movie makers in Chicago were ar-
rested by the city's police for taking pictures of a cloud of
smoke billowing from a factory chimney.
The trouble was that the smoke poured from the stacks of the
big South Chicago Steel Mills, a plant busily engaged with war
orders. After a thoroughgoing check by the police, the two movie
makers were released. But their experience should be a warning to
all amateur filmers. In the absence of any new instructions from
Washington since the declaration of war, the Amateur Cinema
League recapitulates herewith the regulations of all movie making
and photography, so far announced by the government.
Without specific permission from the responsible officer in
charge, still picture taking and movie making are prohibited of
the following subjects:
(1) All Army, Navy and National Guard armories, camps,
bases, yards and other installations. Although a reasonable
amount of filming had been allowed at draft camps previous
to the declaration of war, it is reasonable to suppose that this
activity will be further restricted.
(2) All Federal government buildings of any kind, including
office buildings and post offices. It seems probable that this re-
striction will be extended in key cities to municipal buildings, as
well, especially those housing the Police and Fire Departments.
(3) All railroad stations, trains and other railroad property,
and all other public utilities, such as electric power plants and
lines, gas works and storage tanks, water supply reservoirs, dams
and conduits.
(4) All airports and air installations, whether commercial or
military in character.
Things patriotic
movie makers must
observe in their
current filming
(5) All docks, bridges, canals, shipyards and waterfront in-
stallations of any kind.
(6) All industrial plants of whatever kind or size which are
executing orders for national defense. The unsuspecting filmer
should be especially careful about subjects that might be included
in this category, since it is often difficult to know if this condition
obtains at a given manufacturing plant. It is far better to ask
first than to be sorry afterward.
In the face of these restrictions, it may seem that there is little,
if anything, left to the personal filmer who is eager to aid his
countrv with his camera. This is is not the case. The entirely rea-
sonable rulings just outlined apply to unsponsored and unau-
thorized picture making. If and when you persuade the proper
authorities that your filming ability can be of aid to them, the
needed permission for pictures will follow.
12
Gratnli0"
ideal scene to sy
13
How to make a record of
winter's exciting sport
LJANDS down candidate for "viewer of most ski films
■ ' in existence" (and expert maker of schuss movies
himself) says goodbye to millions of Americans five
nights a week with his familiar " — and — -So Long — until
tomorrow." In fact, next to his position at a microphone,
the most likely place to find him is in front of a screen —
one that has his, or anybody's, ski movie on it.
"I've seen most of the best — and too many of the worst
ski movies," says Lowell Thomas, ACL, "but I always
assume that their primary object is to entertain. And
ever since Cro-Magnon man and the Neanderthal crea-
ture cooked up schemes of entertainment, there has been
one fundamental rule — variety. Ski films can be awfully
monotonous. In this connection, I'd even include a great
many closeups, as well as long shots, and a wide variety
of spectacular scenery."
He paused, thinking of the more successful ski films
that he has seen. "There are other things that I'd like to
see. Plenty of action, and by that I mean first class skiing.
Perfect exposure and all sorts of angles, of course. And
human interest punched up with plenty of laughs."
Not many would argue with Lowell Thomas's conclu-
sions. But most of us would like to inquire meekly just
how we can produce a ski opus with "first class" action,
"spectacular" scenery, laughs and that very evasive little
item — human interest. It is a stumper all right, taken all
together; but, perhaps if we break up each piece of this
vital "variety" and look at each of the fragments sep-
arately, they will not seem so tough after all.
Action
Action we must have. The very verb, "to ski," may
mean, to some of us, "to spill"; but, to most of us, it
means speed. That is where the trouble lies. The faster
the action, the harder it is to catch with a camera, and
that is where choice of viewpoint comes in. In general,
pick a shooting spot below and at one side of the trail,
and you will have this problem licked more than half-
way. If the spot is also just below a tricky turn, where
the skiers will have to stem, your shot will tell the whole
story — except how frozen you were when you were wait-
ing for the actors.
For action in your long shots, get on a hill that is
opposite a practice slope. Then press the button when
a goodly number of people are speeding downward, or,
BENJAMIN F. FARBER, jr., ACL
better yet, when your better skiing subjects send up
sprays of snow while they stem down the hill in a pre-
arranged pattern. The scene will be better if those on
the sides sweep in front of the victim in the middle when
they are just halfway down. It is even easier to stage a
grand opening shot, by directing your friends to ski
straight toward the camera, down a gentle incline, and
then to pass over it by spreading their legs wide apart.
(This shot is really worth the wetting you may get from
lying flat on the snow, but be careful that these experts
don't flip a pole in your face or a shower of snow on
your lens as they pass over. A clever thought, indeed, but
worth a warning!)
For more spectacular action, the conditions naturally
become exacting. As one instance, find a head wall, below
or right beside which you can crouch, and shoot the
downhill racers as they swoop over. Faster camera speeds
will help to slow down this terrific action, but, above all
else, you must remember to keep out of the skier's way.
A simpler location from which to record good skiing
is on the top of a slight rise that occurs just at the base of
a long hill. There the man on runners will usually have
enough momentum to send him flying into the air at the
top of the bump and — unless he is a wizard at shifting
his weight quickly — down to earth again in a perfect two
point landing — on the rear tips of his skis. Fun !
Have you ever filmed fast action on a steep hill and
then have you later seen it on the screen, looking for all
the world like strangely animated skiing on a flat white
plain? You have got to get some perspective that shows
the slant of the ground, and that calls for a side angle,
with the camera close to the ground and level. Then the
top of the hill will be near the top right corner in your
viewer and the bottom will be close to the lower left
corner. From this viewpoint, get your Telemarks and
Christianias; tilt upward to catch the skier as he hurtles
downward and then train the camera steadily on the
skier, as he swivels his hips one way and shoots toward
you. Then have him do an opposite swivel and dart
downward again. That is how to get those "unbeliev-
ables," too — those back lighted, silhouette shots with
the snow spraying all over the place. Try them sometime,
especially if you have a slight drop right alongside the
edge of the slope. Then you can actually get below the
skier, to show the slant of the [Continued on page 28]
^ke/i&i
in
tiMed
14
Solving caption problems is an absorbing job
THERE couldn't be more fun ! Take hours — take days-
take weeks; or do as I do and have the subject always
on your mind. Then complete your home movies with
your own titles. Life will open new horizons.
There is something about the glint of black lengths of
shining film that excites my imagination and makes my
Photographs by Elaine
Carlson Westby, A~~
fingers itch. Take last Feb-
The glint of black lengths of film excites
my imagination.
ruary. It is true that I had
just booted the "flu" out the
window and was only shak-
ily resuming a normal life.
Titling an accumulation of
4000 feet of chronological
baby history seemed a tame
enough activity for a conva-
lescent. But I found it as ex-
citing as anything could be.
Titles? Easy! I had a
titler, the flood bulbs that
were required and instruc-
tions with the titler. I had a typewriter with which to
type my words, and, if something less stereotyped were
desired, I knew that I could letter by hand and obtain
results slightly better than
impossible; so I started.
First I printed the words
on a title and then, following
directions, I finished a few
captions. Then I began to
paste cutouts on some of the
cards. The ideas started com-
ing, and, from then on, I
performed unbelievable an-
tics on the small rectangular
space.
I needed a Christmas back-
ground for one title. Where
better could I find one
than on a Christmas card? Harken, ye titlers! Save your
Christmas cards now and forever. They are rich in pos-
sibilities.
I found one that I wanted.
I cut it the size called for in
the instructions and pasted
it on the title card. From a
small calendar I cut the num-
bers 1, 9, 3. 7. Ah! an idea.
I glued that "1" in its
proper place. I filmed a few
frames. I glued the "9" in
place. I exposed a few more
frames. The "3" and the "7"
Print the title on a long slip of paper l treated in like manner, and
and draw it slowly through the titler, lo! and behold! an animated
using whatever background you desire. 19 3 7 jumps upon the snow
I gathered all my equipment together —
ELAINE CARLSON WESTBY, ACL
covered roof of a red barn. Titles? Easy! And fun!
I had a scene showing the first steps of a baby — the
halting, stumbling, exciting first steps. How could I do
justice to such a momentous shot? Another Christmas
card had a baby chick dressed as Santa Claus, wearing
bright green bootees.
Bootees! I had it! "Judy, March 1938" I printed. This
wording would appear first; then, across the screen, the
bootees would walk in baby steps, all by themselves. First
I filmed the wording, Judy, March 1938, alone, while I
read it through twice aloud. Then I stopped the camera
and pasted one paper cutout of a bootee in place near
one side of the card. (I used rubber cement.) Then I ex-
posed a few frames and, next, I pasted the cutout of the
second bootee in front of the first and took a few more
frames. Then I lifted the first cutout (cement still wet)
and stuck it ahead of the second and rubbed the cement
off the card on
the spot where
the bootee had
been. I filmed a
few more frames.
Get the idea? I
walked the boot-
ees, step by step,
across the square
and then exposed
just a bit more
film after the last
bootee had van-
ished. Eureka!
Animation is
easy for me now. I print one letter at a time, using Crayo-
las or cutout letters, or I cut a card into a jigsaw puzzle
and add a little between each click.
Another very
simple idea is to
print the title on
a long slip of pa-
per and to draw
it slowly through
the titler, using
whatever back-
ground you de-
sire. Read the
title aloud as you
pull it through,
and the timing
will be just right.
I came to a swimming pool sequence, with shots of
water and swimmers. I threw a royal blue beach towel
over the back of a chair, so that the edge just touched the
floor. I took a heavy mirror from the wall and placed it
on the floor in front of the towel. Using a small block.
I tilted the mirror slightly to- [Continued on page 36]
Not a word is printed, yet everybody
knows that Easter pictures follow.
I took a panoramic view of a lake scene,
using my homemade stage set.
Photographs
Tom Griberg, ACL
V
.Above, materials
construction details for •
homemade tripod dolly.
Bt left, completed dolly .n
15
Specifications and ways
to build a cine accessory
TOM GRIBERG, ACL
HEN a shooting script in Hollywood calls for a trucking shot,
a ponderous camera crane swings into action. When the ama-
teur movie maker's script calls for a similar scene, he must usually
resort to Sister's baby carriage or Brother's coaster wagon, to carry
his camera.
Should the scenario in Hollywood demand a new camera view-
point, the large wheeled camera dolly rolls smoothly into the new
camera position. The amateur, on the other hand, must carry his
camera to the new position and then must carefully reset the tripod
legs.
But the amateur movie maker need not suffer these limitations. At
a cost of less than a dollar for material and a few hours' work with
simple tools, found in any home workshop, he can supply himself
with a tripod dolly which, in addition to making trucking shots a
simple matter, will allow him to roll the camera over any smooth,
level surface, thereby giving him the flexibility of a hand held camera
with the steadiness of a tripod. (See the illustration below, on this
page.) Finally, when the day's filming is completed, the dolly can
be folded to about the same size as that of a good tripod.
The body of the dolly is made from a five foot piece of one and
an eighth by one and three quarter inch screen sash, which can be
procured at any lumber yard. The remainder of the material can be
found at the nearest five and ten cent store (Fig. 1) .
The material list:
3 casters with large rubber wheels (not less than 2 in. in diameter) .
3 metal sleeves for the casters.
3 No. 12 thimbles (optional).
1 \Vo, in. square hinge.
4 % hi. flat head screws, to fit the hinge.
1 large screen door hook with screw eye.
1 extra screw eye.
1 small can varnish stain (optional).
From the five foot piece of screen sash, cut two pieces of wood.
One should be exactly thirty inches and the other exactly twenty four
and one quarter inches in length. For the sake of appearance, the
two ends of the long piece and one end of the short piece can be
The remaining end of the short piece, however, must be perfectly square.
Drill a hole, three quarters of an inch from each end of the long piece and three
quarters of an inch from the rounded end of the short piece, to fit the caster sleeves
(Fig. 1). Drill these holes on what is to be the bottom of the dolly. Then, one and a
half inches from the same ends, drill three similar holes, fifteen sixteenths of an
inch in diameter and one inch deep on the top side of the wood. These holes are to
accommodate the tripod legs. If the dolly is to be varnished or painted, that job
should be done at this point.
After the wooden parts have been painted, screw the hinge to one side of the square
end of the short piece. Then screw the hinge to the center of one side of the thirty-
inch piece, to form a T (Fig. 3). Next, screw the screen door hook in position, to
hold the leg of the T perfectly rigid when the dolly is in use (Fig. 3) . The extra screw
eye should be placed on the long piece, to serve as a place to which the hook can be
attached when the dolly is folded.
Insert the three caster sleeves into their respective holes. Cement them in place
if necessary. Slip the casters into their sleeves, and the tripod dolly is ready for use
(Fig. 2). If desired, the holes which are to accommodate the [Continued on page 32]
ided.
• r,\PSt lighting
'Cited bulb, P^TtotinaUo"
bull, to *« ««««» k o£ course «
back o( *e cV""r\.miu. The small P"=
Kodachrome stiox
this setup-
{or color film-
T i;„ht a semi closeup * o win
t'ln^xpe-ive bu * * ti
Jc No 1 fl°od b lu naturalness
ft iu tte floor lamp *^f reflectois
fV ceue. Note thtf he ^ ^
e tipped downward, so th ^^
are tipt> , w as ^eu
illuminate darker
areas.
Here .t.l.e'rf^^iatroVto-
Sit and a»odvT, blue 9ood bulbs.
S* «- 2mtl traded ** -*
«"d *e„rCTe uU Kod.chrome The
door, or i e. d the
combination pr° laTgement Note
16
be sure w cu
17
^ lighting was
contains a r\°- , lield by trie y
cents trie u=
■w
photo:
:raphs by lames
iff Moore
ACL
, , Wet reflected in a
A close shot oi a subject ^ ^
A ;B a favorite a^1 one
Sf 2 flood b»ib >» • fttmi nmn
subject to mntor
camera.
18
PRACTICAL FILMS
• Frames from "Because
Somebody Cares," pro-
duced by Willard Pictures.
35mm. scenes by Willard
Pictures
.
L^«
^
/
l
Willard's Latest
Willard Pictures, of New York City,
have finished recently a 400 foot sound
film of the Good Shepherd Home, in
Allentown, Pa. Stressing the people in
the Home, rather than the physical plant,
the movie will be used within their or-
ganization and also will be distributed
free of charge — see the Free Films page
in this number, for complete details.
Willard also filmed a trailer, which adds
a direct appeal and which may be used
with the film. The camera work was
done by T. W. Willard, ACL; Robert
T. Furman directed and wrote the script ;
and Lowell Thomas, ACL, is the narra-
tor. The flash back method is used here;
Mr. Thomas finishes his broadcast and
turns to the audience, to tell them about
the Good Shepherd Home.
Camp Record
Dr. A. R. Lawrence filmed, in 250 feet
of 8mm. Kodachrome, the thirty third
annual summer camping trip of the
Boys' Brigade, sponsored by the Pomo-
na (Calif.) Pilgrim Congregational
Church. A group of fifty five boys and
four officers camped for a week in the
newly opened King's Canyon National
Park. Dr. Lawrence writes that the film
aims to be "a valuable record of the
boys and the camp, as well as entertain-
ment for our church groups and organi-
zations interested in boys' work." Al-
though there are many scenic shots, Dr.
Lawrence took care to emphasize the
boys throughout the film.
Film for Four A's
Under the title, America and Adver-
tising, Time, Inc., through the facilities
of the March of Time, produced a 35mm.
sound film for the recent convention at
Hot Springs, Va., of the Association of
National Advertisers and the American
Association of Advertising Agencies.
The program consisted of the motion
picture, interspersed with three or four
brief speeches. Opening with scenes of
the compact, small scale economy of the
The non theatrical movie as
used for various purposes
GORDON L. HOUGH
Old World, the film shows how the dis-
covery and settling of America widened
markets tremendously and necessitated
world wide information of products.
This was the task fulfilled by advertis-
ing, which has become one of the main
factors in maintaining our high stand-
ard of living. After the war is over, the
film points out, advertising must carry
abroad the American way of life which
is the envy of the world.
Many of the scenes were taken from
the March of Time's library; some were
shot expressly for the film, while some
footage came from other commercial
producers. Richard deRochemont wrote
the script and edited the film, Charles
Gilson did the new camera work and
Westbrook Van Voorhis was the narra-
tor.
First CAVEA Meeting
At its first meeting of the school year,
on October 18, the Connecticut Audio
Visual Education Association gathered
at Stafford High School, Stafford, Conn.
The principal speaker was Paul D. Col-
lier, State supervisor of secondary edu-
cation, who gave an analysis of audio
visual activities throughout the State,
pleading for an increased film budget
for schools. J. L. Senechal, of Stafford
High School, spoke on program organi-
zation, and, in the afternoon, Dr. A.
Croteau, of the University of Connec-
ticut, gave a demonstration of broad-
casting technique for language study.
Highway Safety Film
S. Howe Williams, of Richmond, Va.,
has completed a 1200 foot, 16mm. sound
film in Kodachrome for the Common-
wealth of Virginia, Department of Motor
Vehicles, called The Virginia Trooper.
Describing the training of a State troop-
er and outlining his numerous duties on
the highway, the movie pleads for co-
operation of drivers and pedestrians
alike. A railroad engineer, in his obser-
vance of safety measures and response
[Continued on page 36]
19
If
Films serve book centers
in variety of situations
GERALD D. McDONALD
OVER thirty years ago, before his community had a
motion picture theatre, an enterprising librarian
bought a projector and began to show films at schools
and at club meetings. Since then, in isolated instances,
the motion picture and the library have carried on a
modest, hesitant flirtation. The most familiar evidence
of the attachment has been in library exhibitions and in
lists of outstanding films.
But a more significant development can be found in
the increased interest shown by all types of libraries in
non theatrical films. When educational films first began
to appear in 16mm., and when the portable 16mm. pro-
jector became standard for classroom use, school libraries
were occasionally — but not often — asked to take charge
of films and equipment that were owned by the schools.
Today, not only a considerable number of school li-
braries, but also two public libraries, one county library,
one regional library and one State library, own films
which they circulate much as they do books. Other li-
braries, in their adult education activities, have borrowed
films or have assisted in planning film programs.
For the duration of the present war, public libraries
in Great Britain have been lent 100 projectors by the
Ministry of Information. Acting as community intelli-
gence centers, they show the short films which have been
made to inform and to strengthen the morale of the British
people. In this country, a somewhat similar activity is
under way. Several libraries are planning to show a
series of educational and "documentary" films. These
film forums, devoted to the subject, What We Are De-
fending, will serve as a basis for discussion and study of
timely problems.
A library's ability to serve its community depends on
how well people know what the library has to offer. Be-
cause of this necessity to tell its story, some libraries
have produced films. Many of them have given a general
picture of library service or have illustrated how to use
the library. Others have attempted to win public support
for better appropriations. It is not surprising that the
first library films were made in California, but it is re-
markable that this event happened as early as 1915. Since
that time, and especially in the past two years, the library
has lost its camera shyness.
So many libraries have made films that a skit was
recently written, satirizing the library of tomorrow, when
the applicant for a library position is no longer asked if
she is trained in book service. She need not know how
to read, for that matter, if she turns out to be "photo-
genic"!
An interesting library film, Portrait of a Library, was
made in 1940 by the Montclair (N. J.) Public Library,
on a grant from the Agnes Osborne Fund. This fund, to
spread international understanding, was employed in the
film to show people in other countries what an American
public library is like and what sort of feeling a com-
munity has for its library. [Continued on page 31]
20
• Left, arranging screen and
amplifiers for Minneapolis Cine
Club's Spring Show. Right, com-
mittee scoring film for presen-
tation.
H cum tlwuvL iU> wjQaJz
How an amateur body gave large public screenings
IF YOU think that planning a home movie screening for
your friends is a time consuming and exacting job, how
would you like to arrange a two hour, 16mm. program
for a diversified downtown audience of more than 600
persons? It took efficient Spring Show committee mem-
bers of the Minneapolis Cine Club just five months of
hard work to "put across" their most recent 16mm. Movie
Party, fourth in the series of annual affairs and probably
best attended of any club party of its kind in the country.
Now, how does the local club, a stag organization of
seventy five members, carry out its unique programming
experiment without a hitch? The answer is perfect co-
operation and coordination by delegation of definite tasks
among the membership.
Selecting Committees
In order to put the club's vicepresidents actively to
work, the first vicepresident automatically becomes Spring
Show chairman, and he names the heads of the various
committees — film selection, editing, sound, projection,
stage, publicity, tickets, finance, ushers and reception.
The date and place of
showing are designated
well in advance.
The second vicepresi-
ORMAL I. SPRUNGMAN, ACL
dent, who customarily plans the club's monthly programs,
utilizes his fellow workers as a film selection committee.
Early in January, all film of merit that was screened be-
fore club meetings during preceding months is called in,
and an appeal is made to others to produce "top notch''
footage for possible use. Each member of the film selec-
tion committee personally sees a dozen or more members
of the club in his search for the best available material.
Choosing the Film
During the winter months, this group meets frequently
to screen offerings, which are then either tentatively ac-
cepted or definitely rejected. No final judgment is passed
until a month before the showing. Since the club's most
active movie makers are usually entirely too well repre-
sented, every effort is made to include the work of lesser
known members. Because of the large screen size (usually
seven by nine or eight by ten feet), only 16mm. films are
eligible. However, 8mm movie makers can participate, by
using borrowed 16mm. equipment and by going out on
special assignments. Last fall, the local club even put on
its first exclusively 8mm.
Annual Show.
The Minneapolis Cine
[Continued on page 28]
• Behind the scenes at recent
Spring Show of Minneapolis
Cine Club. Ralph Sprungman
is at the projector; Harold
Sandeen (left) and Bill Weber
are stage electricians shown in
the center picture and George
Culbertson is operating the
dual turntable.
21
• Members and guests
of Wichita (Kans.) Ama-
teur Movie Club on re-
cent outing.
Mrs. Martin Lentz
AMATEUR CLUBS
^rV.S.A.C. dines Several hundred members and guests
of the Washington Society of Amateur
Cinematographers, ACL, gathered recently in the Studio of
the Fairfax Hotel, for that group's annual dinner meeting.
John T. Chedester, president, was in charge of the ceremo-
nies, and he introduced William McConnell, ACL, and Wil-
liam J. Brown, ACL, as guests of honor from the Washington
8mm. Movie Club. Seen on the club's screen, following the
dinner, were Florida, by Mr. Kelly of the 8mm. unit;
Chromatic. Rhapsody, from the League's Club Library;
Western Dream, by T. A. Vlier, official projectionist for
W.S.A.C. At a later regular meeting, the club heard from
Richard C. Green, cinematographer for The March of Time;
from Marion Belknap, on Exposure of Kodachrome by
Indirect Lighting; and saw Florida, Fountain of Youth, by
Edward Cross.
Albany awards Fourteen films were entered by mem-
bers of the Amateur Motion Picture
Society, ACL, of Albany, N. Y., in that group's recent first
annual contest, with awards going to the first seven place
winners. These were, in order: Good Old Summertime, by
Arthur O'Keefe; Gift For The Graduate, by John Ronan.
ACL; New York World's Fair, by Dr. Irving Vies; High-
lights of 1941, by H. Morgan Gates, ACL; Trip Around
New York, by James Foley; Snapshots, by Jack Taylor, and
Heaven Protect The Working Girl, by Arthur Kemnitzer,
tied. The contest was judged by the consulting staff of the
Amateur Cinema League. Members of the Albany club have
heard the first two lectures of a winter series planned for the
What organized groups
are doing everywhere
JAMES W. MOORE, ACL
group — Light and Lenses, by Dr. Vies, and Sound For Your
Films, by Carl Mattison, of Station WOKO-WABY.
New York entertains Members and guests of the
Metropolitan Motion Picture
Club, in New York City, met the week before Christmas at
the city's Master Institute Theatre, for a holiday program of
outstanding film fare. Seen on the club's screen were // You
Went To The Fair, by Kenneth F. Space, ACL, the League's
technical consultant; Sternwheeler Odyssey, by Sidney
Moritz. ACL; Pinch Hitter, by C. J. Carbonaro, ACL;
Wolf Bait, a novelty employing both stage and screen, di-
rected by George A. Ward; Eclipse Over Peru, by Charles
Coles, ACL. and Robert M. Coles, ACL; A Christmas Fan-
tasy, by Leo J. Heffernan. ACL; Western Wild Life, by
Frank E. Gunnell, ACL.
Tulsa Contest The Tulsa Am-Mo Club, meeting in new
quarters at the East Side Public Library,
screened the award winning films of the group's recent an-
nual contest, concluded in November. First prize and a gold
engraved trophy went to R. C. [Continued on page 39]
The fifth annual picnic of the Los Angeles 8mm. Club at Griffith Park in Los Angeles
y£ six
* i'X;-V
to the makers of the "Ten Best," and to those who rec
Honorable Mention — congratulations on the successfu
elusion of the 1941 contest of Movie Makers Ten
Non-Theatrical Films.
In the belief that readers will be interested in learni
the film and equipment used by the winning conte
the following listing has been prepared. Eastman cai
are identified by the symbol B ... the type of film is
in italics. As you will see, of the "Ten Best" films, nine
made with Cine-Kodaks . . . all were made on Kodacl
Film. Of the fifteen films in the Honorable Mention g
twelve were made with Cine-Kodaks; thirteen were
on Kodachrome Film.
Con gra tula tion s ■
THE
HIRAM PERCY MAXIM
MEMORIAL AWARD
"Hail, British Columbia!"
Mr. Leo J. Heffernan
New York City
16-mm. Kodachrome
TEN BEST— GENERAL CLASS
"Auntie in Moccasins"
Mr. Joseph J. Harley
Tenafly, N. I.
8-mm. Kodachrome
"Christmas at Our Hoi
Mrs. Olaf N. Olsen
St. Paul, Minn.
16-mm. Kodachrome
"Desert Life"
Mr. Henry E. Hird
Ridgewood, N. J.
16- mm. Kodachrome
"Down Mexico Way"
Mr. Frank E. Gunnel!
West New Brighton, N.
16-mm. Kodachrome
"Linda"
Mr. Richard D. Fuller
Milwaukee, Wise.
16-mm. Kodachrome
EASTMAN
'
0 0
"South of Honolulu" "Hummingbird" "Western Wild Life"
„, r, tj.,, , Dr. Richard Cassell Mr. Frank E. Gunnell
Mr. Dan Billman, Jr. Los Angeles Cahf West New Brighton, N. Y.
Minneapolis, Minn. 16-mm. Kodachrome 16-mm. Kodachrome
16-mm. Kodachrome
£m t3H SB
"Madame Hummer at Home" "Where the Americas Meet"
"The Ackley Lower Impression Technic" j^rs Warner Seely Esther and Morton H. Read
Mr. Harry Coleman Cleveland, Ohio Springfield, Mass.
Brooklyn, N. Y. 16-mm. Kodachrome 16-mm. Kodachrome
16-mm. Kodachrome
"Magic Mush" HONORABLE MENTION
TEN BEST— SPECIAL CLASS J*r !ric M Un™afk SPECIAL CLASS
San Francisco, Calif.
"Behind the Bale" 8-mm. Kodachrome "Education for Life"
t* mi Harmon Foundation
Mr. Paul Thompson New York City
Yakima, Wash. Teer Gynt" 16-mm. Kodachrome
16-mm. Kodachrome Mr. David Bradley
Winnetka, 111. -^B^»
^^=^^_ 16-mm. Cine-Kodak Super-X
B "Let Your Body Breathe"
"Blossom Forth the Fruit" j HI Mr. Kendall T. Greenwood
w TAfir d tt j. i_- Saniord, Maine
Mr. William n. Hutchinson
Newburgh N Y "That All the Earth May Know" 16-mm. kodachrome
' Mr. C. Manley DeBevoise
16-mm. Kodachrome t,-i~it„ xt i, vr v =^^^__=.
iv i.i. ii. rwuwv vim. Lime Meclc, w. i. ^Bbj
16-mm. KodocrSrome H^^^P
^^^ "Song of a City"
Mr. John Flory
HONORABLE MENTION Cleveland, Ohio
GENERAL CLASS .* „ j l.
*"unaa "The Black Rider" 16-mm. Kodachrome
"Brookside' Mr Louis McMahon
Mr. Robert P. Kehoe Passaic, N. J. C^^fe
16-mm. Panchromatic ^P]^
16-mm. Kodachrome
|3 ■■ "The Riders of the Pecos" "Unsung Heroes"
Mr. E. M. Barnard The Calvin Company
^^^B Kansas City, Mo. Kansas City, Mo.
16-mm. Kodachrome 16-mm. Kodachrome
"Flowering Byways"
Mr. Ernest Kremer ^^^^^— f^^Bal
Flushing, N. Y. ■ ■
8-mm. Kodachrome
VOU, perhaps, do not make movies to enter in national or inter-
■ national movie contests. The sole judges of your films may be
your family and your friends. And here, again, movies more
frequently win acclaim when they are made with Cine-Kodak,
wH^L' .^H ■Bak^**^ ^K
on ever-dependable, always-uniform Cine-Kodak Films —
Kodachrome or Panchromatic.
^^^
THE WINNING FILMS
A ■# ^<A HHI% M lllf ■% || \f
Kodachrome — regular for daylight use, and "Type A" fox
Ik r nlvlPANY Pnrhactor N Y
Photoflood filming — was the choice of almost all "Ten
ni\ ViWifirMii i f i\uinoiui/ ii • i •
Best" winners is the choice of almost all movie makers."
k
, to the makers of the "Ten Best," and to those who rea
Honorable Mention — congratulations on the successit
elusion of the 1941 contest of Movie Makers Ten |
Non-Theatrical Films.
In the belief that readers will be interested in leant
the film and equipment used by the winning conl
the following listing has been prepared. Eastman cai
are identified by the symbol 0 ... the type of film is
in italics. As you will see, of the "Ten Best" films, nine
made with Cine-Kodaks . . . all were made on KodacL-
Film. Of the fifteen films in the Honorable Mention gi>
twelve were made with Cine-Kodaks; thirteen were c
on Kodachrome Film.
Congratulations-
THE
HIRAM PERCY MAXIM
MEMORIAL AWARD
"Christmas at Oui Hco
Mrs. Olal N. Olm
Si. Paul, Minn.
16-mm. KoJochrwM
"Hail, British Columbia
Mr. Leo J. Hefieman
New York City
16-mm. Kodachrome
16.
"De.eil LttV'
.It. Hoary E. HirJ
Ridge wood, H. I.
Kodotr-'C-'
TEN BEST— GENERAL CLASS
Mr Joseph ). Harley
Tonally, N. ].
fl-mm. Kodachromo
. Frank E. Gun*
New Brighton >
-mm. Kodothrw*
Milwaukee. W* I
16-mm. KodtHtuv*
"The AckloyLow«r Impression
Mr Harry Coleman
Brooklyn, N. Y.
16-mm. Kodachrome
TEN BEST— SPECIAL CLASS
"Blauom Forlh the Fruit'
Mr. William ft Hut bin ■
Newburgh, N Y
16-mm. Korfoch'ome
Mr Robert P, Keho.
New York Cily
16-mm. Kodothrom.
"Flower.na Byway.'
Mr Ernent Kremer
Flu.hmg, N Y
3-mm. Kodothrome
Mr. Warner Se.lv
Cleveland. Ohio
Kodothrome
agK- Mu.h'
HONORABLE MENTION
,, , . ■ iJjj
SPECIAL CLAI1
t. Kodoihiom.
■
Hew V
»eer GyM"
David Bradley
, . .. , n
M-mm. Kw^mtheimt
ne-Kodoli li/per-X
m
oe
"Lei Toot 1
Mi Kai
eEerrh Mat KnoW"
l*.mm. IT We. Mem-
C Mauley D.IU,,...
Little Heck, H Y
'The Bl.i I
Mr LqiiIi McMi
Pae.«tc. N f
16-mm, Panthiomatii
tid-n ul the PecW
E M R-<
...... M
nm. Kedocfc/ome
i
CU..U.,
f6-mm KeeW.fc.em.
The Cel.tn C.x
|-.eV.h'em.
VOU, perhaps, do not moke movies to enter In notlonol or Inter-
' national movie contests. The sole Judges of your film* may be
your family and your friends. And here, again, movies more
frequently win acclaim when they are made with Cine-Kodak,
on ever-dependable, olwoys-unlform Cine-Kodak Films —
Kodachrome or Panchromatic.
EASTMAN WK COMPANY, Rochester, N. Y.
24
Technical comment
and timely topics
for the amateur
BBER
LENS CAP^
TH KNOT
HOLD
STRING
TITLE
EASEL
ON FLOOR
STRING
HOME-
MADE
PLUMB
BOB
v"
AT CENTER
OF TITLE EASEL
Reflector aid While one thinks of
using reflectors par-
ticularly in the summer, there is no
reason why they should not be used at
any season of the year. In winter, snow
acts as a reflector; but, in many sec-
tions of the country, there is not enough
snow so that the movie maker can de-
pend upon this aid.
The only difficulty in the use of a re-
flector, once one has carried it to the
scene, is the delay that one may en-
counter in "aiming" it or placing it so
that it will reflect light toward the sub-
ject. However, a handy and inexpensive
device, consisting of a small metal mir-
ror and a length of cord, can be used
as a sighting aid. The mirror is sus-
pended upon the surface of the reflector
by the string, which is held in the hand,
as shown in the illustration below. The
mirror will reflect a brilliant spot of
light upon the subject when the re-
flector is properly placed. One can
manipulate the reflector until this spot
is centered upon the subject. Then the
mirror can be withdrawn by the cord,
leaving the reflector correctly placed
for full efficiency.
To center titles Ralph c. Crosley,
ACL, has sent us
the idea for a very clever "gadget" to
assist a movie maker in centering titles
made from a vertical camera position.
He writes, "Recently, when I had
Bright spot from mirror makes it easier to place reflector
C. J. Carbonaro, ACL
Simple method of centering vertical titles
KENNETH F. SPACE, ACL
some block letter titles to make, I im-
provised a plumb bob and line to center
the titles. I punched a small hole in the
exact center of a rubber lens cap and
through this hole I ran a length of
string to the upper end of which a knot
was tied, to secure it to the cap. A
homemade bob was tied to the lower
end. The bob was made by pouring one
inch of sealing wax into a cone shaped
paper drinking cup. Before the wax
hardened, a hairpin was set in the cen-
ter, to make an eye to which the string
was attached. When the camera is set
up with its base exactly perpendicular
to the floor, and the lens cap is placed
over the lens, the point of the bob will
indicate the center of the area that will
be included in the field."
Lens turret advice We have re
cently noted
that a good many vacation films have
scenes in which the end of a telephoto
lens on a turret was accidentally in-
cluded. Most camera manufacturers
publish charts which show what com-
bination of lenses can be used without
causing this trouble, and those who do
not issue such charts can tell you on
request. There are involved mathemati-
cal ways of finding this information out
for yourself, but the most simple meth-
od of which we know is to extend each
lens on a turret to its utmost length and
to place each lens in filming position,
in turn, to focus it and to make a test
shot. The series of short test shots
should be made of some plain object,
so that any intrusion of a neighboring
lens can be seen easily. We should add
the suggestion that a test shot be made
in each case with a filter on each lens.
25
Sliding viewer Ralph C. Crosley,
ACL, has given us
a very simple solution to a problem
that, we feel sure, has vexed numerous
movie makers.
Mr. Crosley explains, '"These photo-
graphs will show you how I remodeled
my film editor, to make it more suitable
for my particular needs. As the viewer
was in the direct path of the film and
thus hindered rewinding, I conceived
the idea of mounting my viewer on
metal drawer guides (see your local
hardware dealer ) . One half of the pair
of guides is mortised into an eighteen
by twenty four inch plywood base, as
shown below. The idea is, of course, to
slide the viewer back out of the way
Viewer slides to clear the rewind
when one is rewinding. The rewinds are
about eighteen inches apart.
"The film cement bottle, also being
mortised into the board, cannot turn
over and spill." Mr. Crosley also
changed his viewer to accommodate a
toggle switch, but we do not advise con-
struction which might, in any way, re-
duce the trade in value of equipment —
although we do not doubt that this addi-
tion has been an added convenience for
its owner.
Flood lighting unit easily made with mushroom bulbs
Compact lighting Unit The Prob-
lem of por-
tability in lighting equipment is very
neatly solved by Frederick G. Beach,
ACL, as is shown in the photographs
above. Mr. Beach explains, "While cast-
ing about for some powerful light source
that would be small enough in bulk and
weight so that it could be carried easily,
I hit upon the idea of mounting five
porcelain sockets in a small box and
using the mushroom type of flood bulbs
which incorporate a reflector. The box
was made of plywood, and the top was
fitted with the five sockets, as shown
here. They were wired to a single cable,
twenty five feet in length. The box may
be suspended by a small chain, or it
may be supported by special clamps
which will fit an ordinary light stand.
In some instances, it is convenient to
hang the light unit from a picture mold-
ing or from an overhead beam. To add
a refinement, one could screw flexible
sockets into the porcelain receptacles
and, into these sockets, he could place
the flood bulbs." The lid on the shallow
box protects the wiring. The sides of
the box are painted black and the top
is coated with silver paint, so that it
will serve as a reflector if the unit is
used with plain bulbs.
Light Switch We are indebted to
Robert Shull. ACL.
for an interesting "gadget" by which
the room lights can be switched off as
the projector light is turned on, or vice
versa. It is illustrated below. Mr. Shull
says, "At the beginning of a screening,
there always was some confusion in get-
ting some person to turn the lights off
at just the right time. This device gives
the projectionist complete control over
room lights, and the switch is near the
Device to switch off room lights as projector is turned on
SOCKET TO
PROJECTOR
PLUG TO
WALL OUTLET
SWITCH
<P
©0©
OR 3 WAY SOCKET FOR
FLOOR LAMPS
projector. This outfit can easily be car-
ried in a projector case when you are
going to give a show outside your
home."
Lens adjustments In these days
when we can-
not always get just the lenses that we
may want for our cameras, a word of
warning may be sounded. If you pur-
chase a lens that is not designed for
your particular camera or if it is not
offered by the same manufacturer, you
should write to the camera manufactur-
er beforehand, if possible, and inquire
if the proposed objective will fit your
particular camera. If you do not have
time to make this inquiry, you should at
least send the lens and the camera to
the factory, so that they may be adjust-
ed properly. You may spoil some foot-
age and perhaps may damage your cam-
era or lens, by trying to force an adjust-
ment or by putting a lens improperly
into place.
Moving title backgrounds While
the
methods of obtaining moving back-
grounds for titles seem to be pretty well
known, we are quite often asked how
one can use scenes for title backgrounds
which have already been filmed and
processed. Laird S. Goldsborough,
ACL. does it in this way: "I set up my
camera at a distance of three feet from
a regular glass beaded screen, on which
the scene is projected at about twenty
four frames a second. My lens is set at
//1.4 (with Kodachrome) and the cam-
era operates at the regular speed of six-
teen frames a second. With a 750 watt
lamp in the projector, the results are
excellent.
"The film in the camera has been
previously exposed to the titles, which
were lettered in white on a piece of
black paper. The film was then rewound
for the background shooting.
"The obvious advantage of this sys-
tem is that, after one has made a Koda-
chrome film on tour or in other circum-
stances under which it is impractical to
shoot a title, one can, at home and at
leisure, superimpose titles on the Koda-
chrome scenes that have been taken in
the field."
Mr. Goldsborough uses Kodachrome
[Continued on page 35]
NEWS OF
THE
INDUSTRY
• Roosevelt's war message to Congress preceding declara-
tion of war on Japan, a scene in "Japs Bomb U.S.A." Castle
release.
Timely War film Directly following Americas formal
entrance into war in the Pacific comes
a prompt announcement from Castle Films, of a special
January news release under the title, Japs Bomb U.S.A.
Subject to restrictions of military regulation, this remark-
able film will consist of the outstanding news camera cover-
age of today's world shattering events near both shores of
the Pacific, on the broad expanse of the ocean itself and
on the important island tactical bases that dot its surface.
This new film brings the number of Castle war movies to
sixteen, comprising an important motion picture chronicle
from the inception of hostilities five years ago. when Japan
first invaded China, down through each tragic chapter in
the dark years that followed.
26
• New 8mm. reel of translucent plastic made by American
Molded Products Corp.
The new film will be available on 8mm. silent and 16mm.
sound and silent, at regular Castle prices. Complete infor-
mation of this and other Castle films may be had from the
firm, at 30 Rockefeller Plaza, New York City.
FilmOSOUnd reduces Although prices are increasing.
it is interesting to note that the
rapid development of the field served by the Filmosound
library has brought about reductions in rental rates on over
200 recreational feature films. Filmosound's list of authentic
Alpine Ski films, single reelers with musical background, is
being expanded.
New single reel films in color have been made available,
too. These reels are released under the general heading.
Our Colorful World, and comprise natural history, scenic
and topical subjects. The new Filmosound Library Catalogs
describe 3000 films and can be obtained on application to
Bell & Howell Company, 1801 Larchmont Avenue, Chicago.
Answers the query
"What's new?" for
filmer and dealer
RUSSELL C. HOLSLAG, ACL
Plastic reel A new 8mm. projection reel, completely
fabricated of translucent plastic, has been
introduced lo the movie public. Much lighter than metal,
and silent in operation, the new reel seems to fulfill its func-
tion perfectly in rewinding and projection. One of its trans-
lucent arms carries an etched footage scale. The reel is
available in the 200 foot, 8mm. size at forty cents, in the
300 foot size at fifty cents. Manufacturers are American
Molded Products Corporation. 1751 Honore Street. Chicago.
Infrared bulb A new form of infrared ruby drying
bulb has been announced by Wabash
Photolamp Corporation. Brooklyn. N. Y. Designed for studio
and darkroom use in which speed is essential, the lamp
generates infrared rays which are converted to penetrating
heat as soon as they strike film or paper. The new Ruby
Heat Lamp has many applications of this kind, and it is
available in the 250 watt size. [Continued on page 42]
• Kodak Minicolor Pocket Case for color prints made from
Kodachrome originals.
MOVIE MAKERS
27
FILMS YOU'LL WANT TO SHOW
Non theatrical movie offerings for substandard projection
■ Small Town Boy, 16mm. sound on
film, running time, sixty three minutes,
is a clever comedy of small town life,
released by Post Pictures Corporation,
723 Seventh Avenue, New York City.
What would you do if you found a thou-
sand dollar bill and could not locate
the owner? That is what happened to
the hero of this story, and his luck has
a very surprising final result.
■ Vegetative Plant Propagation, two
reels, 16mm. silent, is offered by the
Teaching Films Division of the East-
man Kodak Company, Rochester, N. Y.
This film illustrates the techniques used
in various types of plant propagation,
based on scientific research. Full screen
closeups bring out the various steps.
The subject is treated in two reels, each
illustrating definite operations in the
art of plant propagation.
duced and offered for outright sale by
Castle Films, Inc., 30 Rockefeller Plaza,
New York City. This interesting film
covers thoroughly the sport that enlists
the participation of twenty million
Americans, men and women and boys
and girls. Demonstrations of form, grip,
footwork, arm and wrist work are
shown by Joe Falcaro, undefeated
world's match champion. Amazing trick
shots are also illustrated.
'*:-■■;
■ Orphans of the North, six reels,
16mm. sound on film, running time,
about seventy minutes, is an authentic
feature film, produced in the arctic by
Norman Dawn and released for sale or
rental by Bell & Howell Filmosound
Library, 1801 Larchmont Avenue, Chi-
cago. The story is of a little girl, lost
in the northern wilds and finally res-
cued. The native cast and the atmos-
phere of northern wild life contribute
to the presentation of a thrilling sub-
ject.
■ Boivling Aces, one reel, 8mm. and
16mm. silent and 16mm. sound, is pro-
■ 52nd Street, 16mm. sound on film,
running time, eighty minutes, is a live-
ly musical feature, starring Kenny
Baker, Ian Hunter and Pat Patterson.
It has a number of hit songs and a plot
which is motivated by the hectic occur-
rences which are reputed to be the nor-
mal thing in night clubs along this par-
ticular thoroughfare. It is released by
Commonwealth Pictures Corporation,
729 Seventh Avenue, New York City.
■ America's War for Free Men, 16mm.
silent and sound, 8mm. silent, one reel,
is released by Official Films, Inc., 330
West 42nd Street, New York City, for
outright sale. This film, the first of a
series to be planned as a cinematic in-
terpretation of current history for the
home screen, outlines important high
lights in the present struggle through-
out the world. Events leading up to the
Far Eastern crisis are depicted.
■ Peck's Bad Boy, 16mm. sound on
film, running time, seventy minutes,
distributed by Nu-Art Films, Inc., 145
West 45th Street, New York City, is a
vital, human story of a motherless boy
who battles to hold the affections of his
father against the plottings of a schem-
ing aunt.
■ Pirate of the Seven Seas, 16mm.
sound on film, running time, sixty min-
28
JANUARY 1942
The Ideal Gift
The Craig Projecto-Editor
The clearest, most ver-
satile viewing device you
ever have seen. Puts that
professional smoothness
in your work.
Smm Model, complete
with Splicer, rewind and
film cement. .$37.50
8mm Projecto-Editor
alone $29.50
16mm Model with Sr.
Splicer and rewinds
$59.50
Fast or slow motion, brilliant miniature screen,
ultra smooth movement. The Craig Projecto-Editor
adds a Hollywood perfection to your home movies.
If It's By Craig, It's Precision Built!
Craig Products stay ahead of the field because of
their advanced design, accurate engineering and
strong construction. This kind of equipment is vital
to good photography. And so for best results, use
Craig all the way. You owe it to yourself and to
your camera.
For Every Need — For Every Purpose
Editors, Splicers, Title Sets, Fotofade Kits, Cinetint
Kits, Film Cement, Rewinds, Film Dryers, Com-
binations . . . every Home Movie Maker's needs
answered in a model unmatched anywhere for qual-
ity, performance and low price. Editing makes the
picture. So edit the Craig Way — all the way!
Ask your Dealer or write for new Free Folder
"Makes Editing a Pleasure"
CRAIG MOVIE SUPPLY CO.
1053 So. Olive St. Los Angeles, Calif.
1003 UNNSTLVANIA AVI. H.W., WASHINGTON, D. C.
KODACHROME MAIN TITLES
16MM. KODACHROME 1 .00
8MM. KODACHROME .50
Illustrated Color Folder
Upon Request
FRANCIS S. NELSON
737 Micheltorena St.
Hollywood, Cal
SOUND ON FILM
• COMPLETESTUDIO FACILITIES
• BERNDT-MAURER EQUIPMENT
• SKILLED WORKMANSHIP
and
• MODERATE PRICES
WEAREALSOCOMPLETELY EQUIPPED
TO HANDLE THE ENTIRE PRODUC-
TION OF I6MM COLOR AND SOUND
FILMS.
Price List Free on Request
SPOT FILM
PRODUCTIONS, INC.
339 EAST 48 STREET N. Y. C.
utes, is an adventure film, built around
the activities of the captain of a tramp
steamer, engaged in pearl smuggling
across the China Sea. Piracy, mutiny
and other troubles threaten, but the
plot is finally resolved in an exciting
denouement. Distribution is by W. 0.
Gutlohn, Inc., 25 West 45th Street, New
York City.
Filming swift skis
(Continued from page 13)
slope and to catch the thrill of the turn
toward you and the rasp of the skis as
they twist away again.
Slaloms are good for action, too, com-
bining the advantage of the color of
the flags with the advantage that the
movie maker will know just exactly
where the boys are going — or, anyway,
where they want to go. Furthermore,
these events are mostly in open coun-
try, and they generally offer camera
positions made to order. For instance,
you probably can get directly below
two flags between which the racers are
scheduled to pass and beyond which
they will turn sharply. Then you can
frame the shot with the flags and film
the skiers as they jump or pole turn.
You can then follow them down the
rest of the course with an easy "pan"
of the camera.
Snow Scenes
Frame snow shots with laden
branches; filter them for a black sky.
Try tilting from a view of a skier on
the trail to an upward shot through
icicle covered trees — but don't "pan."
"Panning" is beginners' technique, for
one thing, and, for another, your ex-
posures will change radically during a
"pan," from bare slope to wooded sec-
tion and back to the glare of a barren
hillside. Snow, like sand, will boost
your light value and, like water, may
give you bad reflections and light
flares, particularly when it is crusted
or windswept.
Look for scenes of snow bent trees
that sometimes assume monster forms.
Wait for the winds that send loose snow
swirling over the top of a rise, possibly
back lighted by a low sun. Silhouette
your skiers climbing a ridge or sliding
slowly homeward, directly in front of
the setting sun. These are the scenes
that swell the throat; they are the shots
that make a film great and they are
worth planning for.
Human Interest
In general, human interest concerns
people and the usual, or unusual,
human things that they do. It is cer-
tainly human, on skis, to spill. It is
equally human, after a long successful
slide down a steep hill, to grin victori-
ously from ear to ear. Get that grin.
Also get a face appearing out of a
snowdrift. Both are good for a laugh
in any reel. And, while we are on the
subject of smiles, why not give your
audience a glimpse of that long red
underwear peeping out from Sally's
sleeve, or why not show Johnny hur-
riedly brushing himself off as he looks
anxiously around to discover who
watched him take that "header"?
Human interest also implies plenty
of closeups. If your audiences are in-
terested in ski practices, picture the
waxing business, the adjustment of the
harness, the grasp of the pole. If the
occasion is preceded by travel, try for
a few scenes en route to the slopes. If
your shots concern a meet, make sure
to include the finish flag, the timer, the
cheering crowd.
Think of the interesting incidentals
of this sport. Generally, it is cold, and
coffee is not too far away. A closeup of
stamping feet or slapping arms will
give plenty of justification for a scene
of people clustered around the steam-
ing coffee pot. Sometimes there are
children practicing on the slopes; they
are always good for a few shots. Per-
haps you have a ski tow — get a down-
ward shot from the top, showing the
line of skiers hanging to the rope. May-
be there is a ski lift; turn around and
show your companion dangling his legs
high above the vanishing valley.
Another thing about ski lifts — they
are perfect dollies. Aim ahead at a
forty five degree angle and watch the
mountain rise slowly higher and high-
er. Point the camera backward, and
the houses will grow smaller and small-
er, black specks in a mighty white
vista. You can transfer your thrills with
shots like that, but remember — you
must have variety. Scenic views are all
right if they are spliced with action
shots, and both are better if they are
spiced with human interest. Lowell
Thomas says the Cro-Magnon had it —
why not you?
A club shows its work
(Continued from page 20)
Club screening follows the pattern of
the theatrical movie house, with news-
reel, short subjects, comedy and longer
features. The two hour program is
broken up into two 1600 foot reels, the
first containing the newsreel and short
subjects, while the second holds the fea-
ture films — ■ occasionally a photoplay
and the prize films of the year.
Planning the Program
To speed selection of films, two pro-
jectors are used to throw separate fea-
tures on the right and left half of a large
screen. Thus it is possible to judge in-
dividual offerings simultaneously.
Films that are eligible for the news-
reel section must have either timeliness
or unusual interest or both. This section
MOVIE MAKERS
may be called, News Highlights of the
Year, or Newsettes of Other Years, or
News — Only Yesterday. Here, close edit-
ing is essential, and no scenes are in-
cluded which might slow the tempo. Not
more than a dozen newsreel items are
included, and each is separately sub-
titled with an appropriate double ex-
posed background.
Longer strips of 100 feet or less fall
under such headings as Featurettes
from Everyland, or Feature, Fact and
Fancy, or Sports — In Action. Each has
an individual main title, coupled with
the filmer's credit line.
Featurettes may cover almost any sub-
ject— farm life, mountain flowers, house-
boating, lei making, Indian powwows,
Western roundups, canoeing, cruising,
motor camping, bird studies, baby scenes,
State fair thrillers, "aquatennial" pa-
rades, wrestling and even deer hunts.
In some cases, these "quickies" are only
sequences — segments of full length fea-
tures, which, because of lack of time,
cannot run in their entirety. Here, also,
a comedy might be introduced as a
lively method of closing Reel One.
Two or three travelogs are usually
included in Reel Two, and a comedy
short, such as a sound synchronized
"barber shop" harmony opus, is desir-
able to break up the more serious stuff.
The result is a well balanced cine menu
of proper length. Included in a recent
Spring Show were the three prize win-
ning films of the year, the midway in-
termission between reels offering an
opportunity for the presentation of spe-
cial trophies.
Variety Adds Spice
Final editing and titling are not done
until all acceptable films are scheduled,
smoothed out and cut to proper length.
While a main introductory title, backed
by a fanfare recording, usually opens
the local club's evening show, last year,
for variation, a shot of a special Tele-
sign greeting was used. The sign was
flashed from the top of the Foshay Tow-
er, a thirty two story building in Min-
neapolis, and it was filmed with three
cameras, each of which was equipped
with a lens of different focal length. The
best shot was accepted and was cut into
the film.
Shooting was done at night, through
an open window located high above city
streets, and the cameraman exposed one
frame at a time as each letter in the
Telesign greeting flashed across the sky.
The club's 1940 Movie Party opener
featured a fanfare during the Telesign
introduction, while the initial newsreel
scenes — a colorful downtown parade
filmed in Kodachrome — was synchro-
nized to the lilt of marching music. In
fact, the addition of sound and music
made the footage more impressive than
was the real thing.
The 1941 introduction was made up
of a montage of widely varied short
29
Dependability
is the Thing...
VERSATILITY is a matter
of photographic skill, based
on camera dependability. On the
dependability of Graflex cameras
many a brilliant career has been
built.
The 2V4 x 3V4 Series B Graflex
is a small camera, yet it affords the
means with which masterpieces
can be made. It offers: full-vision
ground glass focusing, revolving
back, the famous 5V2" Kodak An-
astigmat //4.5 lens, focal plane
shutter with 25 speeds up to
1/1000 and "time," close-ups at 21
inches, and the ability to use film
packs, sheet film, or plates.
The Series B can be fitted with
accessory telephoto lenses if de-
sired. Price, $106.50.
Graflex and Graphic cameras are made by
the Folmer Graflex Corporation
EASTMAN KODAK COMPANY, ROCHESTER, N. Y.
^/VICTOR:
N0.250-S
FOR INDOOR MOVIES AND STILLS
IN 1942
\fICTOR Fotoflood Units for
home movies are available for
all sizes of photoflood lamps.
Thirty models to choose from.
VICTOR Fotoflash Units for all
sizes of photoflash lamps are
available for use with your still
camera. Eleven items to choose
from in addition to Fotoflood
units suitable for flash lighting.
Among these you should be able
to find whatever you need for in-
door photographic work of all
kinds — movies or stills.
Advertised prices are subject to
change without notice.
See your nearest camera dealer
or write for literature.
No.520-S
No.55
James H. Smith & Sons Corp.
122 Lake St. Griffith, Indiana
V I CTO ^ff&rtbySuytAtf J@pA&
30
JANUARY 1942
"PROFESSIONAL, JR." TRIPOD
The importance of 16 mm filming demands a
sturdy tripod built along professional lines . . .
the Professional, Jr. Built to precision stand-
ards "Spread-leg" design gives utmost rigid-
ity. Quick, positive height adjustment. Smooth
tilt and panoram head. Camera platform takes
EK Special. B&H Filmo. Bolex or Berndt-
Maurer cameras; also adaptable for 35 mm
Eyemo, Devry, etc. Ideal for sound and all
important work. Used by leading 35 mm news-
reel companies and 16 mm producers. Write
for descriptive literature.
CAMERA EQUIPMENT CO.
1600 BROADWAY NEW YORK, N. Y.
16mm SOUND
on
film
Recording Studio and Edit
'ng Fat
ilities
BERNDT-MAURER RECORDER
GEO. W. COLBURN LABORATORY
II97-M Merchandise Mart
Chicago
EAGLE
DRYING BLOTTER BOOK
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WORLD PHOTOGRAPHIC BLOTTERS
Lies flat. Blotters can be replaced.
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Size, 12 x 18 inches, for 11 x 14 prints I
55
IO
Mail orders promptly filled.
Monthly magazine "Snap Shots" sent free on re-
MURPHY*
57 EAST 9TH ST.
NEW YORK CITY
scenes with a spoken commentary, han-
dled by a member who is a professional
radio announcer.
Calliope tunes provided the back-
ground for a clowning sequence, which
featured America's Number One Funny
Man — ■ Felix Adler. Screaming sirens,
the crackle of flames and the hiss of
water gave downtown fire and smoke
scenes a natural effect, while a perfectly
synchronized sound disc of a crashing
wall fitted in nicely with the wrecking of
a giant radio tower.
Natural homemade sounds were also
used before a microphone during the
projection from the booth. The thum-
pety thump of horses' hoofs on turf was
reproduced by chest pounding, while the
sharp sounds of pavement trotting were
created by clapping a metal cover over
an empty jar. Some wheat harvesting
scenes almost had the experts "stumped,"
but the metallic noise of the harvesting
machinery was recreated by twirling a
stick inside a lopsided tin can, while
rhythmic background sounds were ob-
tained from a record of a ri\er packet.
A few days before the show, a terrific
blaze gutted a downtown furniture store.
Although two apartment fires had al-
ready been scheduled for the newsreel
section, a pair of local cine clubbers
covered the new fire from roof top and
ground level. Rushed away for speedy
processing, the films were returned and
were cut into the final footage only an
hour before Movie Party guests had be-
gun to assemble.
Filming Tricks Exposed
In one flower featurette, a movie mak-
er revealed why it is better to look up
at flowers than to look down at them.
He used a low camera viewpoint and
shot upward, to include distant land-
scapes and out of focus mountains for
greater depth and contrast.
In a canoeing short, the cameraman
showed a boat carrier starting over the
portage in fast motion at eight frames
a second. He took the finish in slow
motion at sixty four frames, to give a
ludicrous effect.
An attempt at close synchronization
was made by one producer who ar-
ranged settings to fit a recording of
Three Little Fishies. Each change in
musical mood was timed with a stop
watch; then a large aquarium was se-
lected, with three goldfish as inmates,
bobbing in amongst seaweeds and sandy
shoals. Painted sea views were mounted
behind the glass, and the whole was
lighted, to give the impression of an
underwater scene.
Both the mama fish and the big bad
whale (or was it a shark?) were intro-
duced in the scenes where they were
necessary, by an operator who manipu-
lated celluloid fish from above. For the
"over the dam" sequence, a small stream
and midget dam, banked with artificial
grass, were prepared, and the fish actu-
ally flowed down over the dam, forced
by a stream of water which was sup-
plied by a hose which was out of view.
To get the fish to swim back over the
dam caused considerable head scratch-
ing, but this feat was easily accom-
plished by shooting the previous scene
with the camera inverted and by revers-
ing the processed footage, end for end,
to give backward action.
Baby pictures are always favorites
with mixed audiences, and one cine
clubber showed his ingenuity by filming
his youngster in costumes of different
nations. The Kodachrome featurette
fades in with a closeup of colored block
letters on a table top, spelling out Peggy
Lou Berglund Presents. The camera
"pans" over the lettering and stops on
a closeup of a large book on which is
printed Children Around the Globe. The
book is held by two tiny hands, and. as
it is lowered, the face of the little girl
and her doll in her arms are revealed.
The child falls off to sleep and dreams
about the different children. In the se-
quences which follow, she enacts the
chief roles herself. Special painted back-
drops were used for the Hawaiian and
Indian setups, and the whole was filmed
indoors under flood lighting. To com-
plete the short, the picture returns to
the original scene of the youngster,
awakening and picking up the book for
the fade out.
Scenario minded filmers were particu-
larly active in the club's- ranks, and an-
other 16mm. feature which nearly stole
a recent show was written, acted and
filmed by three 8mm. workers, who
titled it, Maybe I'm Wrong. Garbed as
Russians, the trio went out in sub zero
weather, to pack into a short film as
many cine sins of beginning cinematog-
raphers as they could think of. The pro-
duction not only unfolds these shooting
errors more effectively than any instruc-
tion book, but it packs in enough slap-
stick humor to make the thing wholly
enjoyable even to non filmers.
Homes as well as home towns often
provide the setting for super thrillers,
and this fact was especially true of Bob
Benchwarmer in Trouble, the first pho-
toplay ever to be presented at a Min-
neapolis Cine Club Movie Party. A
"take off" on Robert Benchley, this
unique short shows the adventures of a
young fellow from the farm who leaves
the straight and narrow path when he
comes to the city. The dual role of at-
torney and unfortunate youth was car-
ried by a single actor, and even the
cameraman and director handled minor
parts.
The last portion of the program
furnishes the least work for the edit-
ing and sound crew, since most prize
winning films are usually prescored and
synchronized with sound and music.
Naturally, the value of such a public
screening is manyfold. It not only makes
the man of the street conscious of the
MOVIE MAKERS
31
possibilities of movie making with sub-
standard film, but it also enables the
filmer himself to take an active part in a
professional performance. And it does
even more than that — for, in movie mak-
ing, one can learn much merely by sit-
ting down and studying the successful
work of others.
How libraries
use movies
(Continued from page 19)
The film was directed by Hans Burger
who skillfully met a major problem of
the picture, that it be intelligible to
people of all countries without barrier
of language. The sound track is only
music and no subtitles are used, but
the camera has communicated the whole
story so vividly that no words are need-
ed for interpretation.
The war, of course, has restricted the
use of this film, but Latin America,
Canada and Australia have offered op-
portunities for its exhibition. It carries
a democratic message, an intimate and
happy picture of the American way of
life, which has made it a friendly am-
bassador at large. This quality was not
attained by chance. One reason for its
effectiveness may be that many people
in Montclair were asked what details
they enjoyed observing in foreign films.
Many, it was found, liked to see the
houses in which the average sort of
family lived. The women liked to see
children at play and the kitchens in the
home. One person complained that he
had never seen a well fed dog in an im-
ported film. So, in Portrait of a Library,
we see library service reaching the aver-
age home and its kitchen, where the
housewife prepares a meal from a li-
brary cookbook. We have glimpses of
children, happy with their books, and,
yes, of a beautiful collie following his
master to the library.
Among the 16mm. Kodachrome films
that were made by Lorene and Russel
Kozak for the New York Public Library,
an experiment has been tried in the use
of motion pictures as a method of ex-
hibiting rare books. Many calls come to
the library to display its outstanding
treasures — the Gutenberg Bible, the
Shakespeare First Folio, the Bay Psalm
Book, the Pitcairn Bible and the unique
Columbus Spanish Letter, which has
been called the most valuable piece of
printing in the world. Some of these
rarities are very fragile, and it has been
difficult to show them to the many
groups of people who pass through the
building. The film now provides an ever
ready exhibition, in which these great
books appear in flattering colors on the
screen.
In library work with children, the
story hour is a popular feature. Some
librarians who work with children have
used movies instead of the customary
With the present heavy
demand for WESTON
Instruments for de-
fense needs, we hope
you will be patient
should you encounter
a slight delay in deliv-
ery. With its many
exclusive advantages,
plus its proved depend-
ability, you'll find a
Weston is well worth
waiting for!
he approach of winter brings this note of caution to the exposure-
wise . . . use a dependable exposure meter to be sure ol repro-
ducing each scene exactly as you desire . . . obtaining the precise
balance you want between the deep shadows and brilliant high-
lights. To be certain of consistently satisfactory winter shots, how-
ever, you also must be sure of the exposure meter. It must be
extremely flexible in operation . . . providing you with a simple
and convenient method of accurately controlling the film density.
Above all, it must provide unfailing dependability in light measure-
ment. Your choice, then, will be the time-tested MASTER . . . with
its exclusive WESTON exposure dial, plus the reliability of an
instrument of Weston manufacture. See the Master at your
dealer's today, or, write for literature. Weston Electrical Instru-
ment Corporation, 626 Frelinghuysen Avenue, Newark, N. J.
WESTON £*p*ttw rfketeM
In addition to
THE ACL MOVIE
BOOK The Ama-
teur Cinema
League offers its
members these
booklets
THAT'S NOT ALL, for each League member receives
MOVIE MAKERS and these services
* Technical Consulting Service
* Continuity and Film Planning Service
*Film Review Service
* Special Services
* Equipment Service
*Club Service
* Member Film Exchange
* Public Relations
AMATEUR CINEMA LEAGUE, Inc.
420 Lexington Ave. Date
New York, N. Y., U. S. A.
I wish to become a member of AMATEUR CINEMA LEAGUE, Inc. My
remittance for $ , made payable to AMATEUR CINEMA
LEAGUE, Inc., is enclosed in payment of dues. Of this amount, I
direct that $2 be applied to a year's subscription to MOVIE MAKERS.
(To nonmembers, subscription to MOVIE MAKERS is $3 in the
United States and possessions; $3.50 in Canada, $3.50 in other coun-
tries.)
MEMBERSHIP . $5 a year
Street
City .
State.
Jan. '42
Get the New ACL
MOVIE BOOK, the
League Booklets,
MOVIE MAKERS
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$5.00
A YEAR!
32
JANUARY 1942
WHY?
FOR PERMANENT
FILM
PROTECTION
against climate, heat,
scratches and stains. Valu-
able for all films . . . vital
for color films.
• Scratches, spots and fingermarks
disfigure colors MUCH MORE than
shapes. Distortion from heat and
emulsion softening can throw color layers
out of line. Color films need DEEP
SEATED chemical protection that surface
lacquers and lubricants cannot provide.
Wise Movie Makers follow the good ex-
ample of the Hollywood producers and
the U. S. government.
ASK YOUR DEALER.
vApr Irate
Better photo finishers offer VapOrate
protection for still negatives.
VAPORATE CO., INC.
130 W. 46th St.
New York City
BELL & HOWELL CO.
1801 (Larchmont, Chicago
716 No. LaBrea, Hollywood
BUY
FROM BYRON'S^0
i MOVIE
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ON YOUR
We carry a full stock of all na-
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WRITE TO DEPT. M M J
One of the lead-
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BYRON S InC. Washington, DC.
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MAPS-£/iWjl-FINE TITLES
Geo. W. Colburn Laboratory
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Resolve:
To start the New Year right. To give
your films their rightful heritage in TITLES
that will make them outstanding. To have
your films EDITED so that their message
will be clear. To secure the best in these
services from
STAHL
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33 West 42 St., New York
PROMPT, EFFICIENT SERVICE IN ALL EDITING
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story. They have found difficulty in
getting films which awaken reading in-
terests in younger children; but, if ex-
posure to books is the first step toward
reading them, films certainly have been
successful in bringing children to the
library. In the Children's Library at
Bogota, Colombia, a Cultural Theatre
has been opened, in which educational
films are shown almost every day.
The necessity of caring for film and
the mechanics of projection have un-
doubtedly discouraged uninformed li-
brarians from using movies. They may
be moved from this feeling, perhaps, by
the little six year old who had a front
row seat at a film showing in the Chat-
tanooga (Tenn.) Public Library. A de-
lay occurred just when it was time to
see her favorite, The Adventures of
Bunny Rabbit. "Do you want foh me to
run the projectah?" she inquired of the
librarian.
At the Chattanooga library, amateur
films are frequently shown. On Saturday
mornings, amateurs are invited to the
library, where they screen their films
and tell how they were made. The films
are most often the result of a vacation
trip in Mexico, Canada or the West In-
dies.
If librarians could choose the sub-
jects, they would probably ask for films
which record the interesting events and
day to day life in their own commu-
nities. The camera is a historian, and
such films will someday have great in-
terest and value as a record of local
history. One hopes that, eventually,
libraries will collect such films so that
they may be preserved for future study.
A local amateur group might make a
film about its community or one of its
institutions with this thought in mind.
A print could be deposited in the library
as a permanent record.
Libraries and amateur film makers
have many opportunities for coopera-
tion. The Mount Vernon (N. Y.) Public
Library is now planning a film about its
activities, which the Mount Vernon
Movie Makers expect to film. Libraries
can often provide a meeting place for
the amateurs, and together they might
show such films as the series, You Can
Make Good Movies, made by the Har-
mon Foundation. Amateur groups can
keep the library informed of all films
that are made and owned in the com-
munity; from this information, the li-
brary can compile a union film catalog,
which would provide opportunities for
the films to be used. If the library
should collect or help to distribute ama-
teur films, it can cooperate with the
amateur organization, in setting up a
library film committee. Then, when an
important local event is scheduled, the
committee could make certain that
somebody's camera would make a rec-
ord of it.
A few libraries now own films, a few
show films and a few assist other people
to use films, which may mark a trend
toward a wider use of films by libraries.
But why will an institution devoted to
the printed word make this effort? Why
will "'our starving libraries," as they
have been called, take on a new re-
sponsibility?
The reason is not hard to find. The
library's duty is in the preservation and
diffusion of ideas. Traditionally, it has
dealt in printed and manuscript records.
Now, through cinematography and
sound recording, newer tools for the
preservation and diffusion of ideas are
available. They are powerful tools, and
they reach people who have never been
reached through books. The library's
role in a democratic society is that of
informal educator — the "people's uni-
versity." To fulfill that role, the library
must provide the materials which speak
directly to people and from which peo-
ple will learn, or be stimulated to learn,
most readily.
The film outside the theatre, the "ed-
ucational" film, can be a great force in
spreading knowledge and understand-
ing. To accomplish this dissemination
requires wider distribution and better
planned utilization. These may be, and
I think they are, needs which libraries
can help to supply.
Make your own dolly
(Continued from page 15)
tripod legs can be lined with metal, by
the simple process of cementing a No.
12 thimble in each hole (Fig. 4).
The use of the tripod dolly is by no
means limited to movie filming. The still
camera user will find use for it when
he changes from one camera position to
another. Also, the movie maker who is
fortunate enough to own a projector
stand or a tripod with a top which will
support his projector will find the dolly
an ideal means of moving the projector
back and forth until the projected
image exactly conforms to the screen
size.
If one of your films is to be presented
in a school or church gymnasium, for
example, the projector can be mounted
on the dolly. Then, before the audience
arrives, the projector can be threaded
and the picture can be carefully framed
and focused on the screen, after which
the entire unit can be rolled out of the
way until such time as it is needed on
the program.
DON'T GAMBLE
If you are used to one kind of film,
stick with it throughout your vaca-
tion. A trip is not a good occasion on
which to experiment with unfamiliar
kinds of film. Be sure to take a good
supply even if you do not use it all.
The film will still be good for a long
time — at least a year if you bought
it from your dealer.
MOVIE MAKERS
33
specter column
SUBTERRANEAN MOVIE
OVERCOMING tremendous difficul-
ties in lighting. Robert C. Harns-
berger, ACL, of Luray, Va., has recent-
ly completed an 800 foot, 16mm. color
film, entitled The Beautiful Caverns of
Luray. The movie is to be used for edu-
cational and publicity purposes by
Luray Caverns Corporation, which will
lend prints to schools, clubs and other
civic and social organizations.
Map leads off
The picture opens with a map and
scenes of the Skyline Drive, to locate
the caverns in northwestern Virginia.
This sequence takes us to the entrance
of the caves, and it is followed by a trip
through the caverns with a guide, who
points out the interesting features to a
group of tourists.
Shown in the film are the Saracen's
Tent (see frame five) which is com-
monly considered to be one of the most
striking underground rock formations
in the world. Other strange rock forma-
tions, like the one shown in frame six,
are included.
Indirect teaching
Mr. Harnsberger painlessly inserts a
great deal of educational material which
the audience absorbs without really being
aware of it. Members of the party ask
questions, ingenious titles are used and
the guide is a fountain of information.
The customary illumination in the
caverns is far too limited for filming;
but, with the cooperation of the Luray
Caverns authorities, Mr. Harnsberger
was allowed to string cables from the
main power line for his battery of
flood lamps. However, this cooperation
was a special dispensation accorded
only for this one film, and not one that
would be granted to any tourist.
Intense light
Regarding the lighting problem, Mr.
Harnsberger writes, "I could fill a book
with the difficulties of filming in cav-
erns. Obtaining enough illumination was
a constant source of worry. I used the
equivalent of 45.000 watts of light on
the scenes and shot nearly all of them
at eight frames a second. Many scenes
were exposed at //1.5."
The accompanying illustrations will
give an idea of how well the camera-
man overcame the obstacle of insuffi-
cient light.
Production staff
Mr. Harnsberger's assisting staff was
as follows: assisting movie maker,
W. C. Harnsberger; electrician, R. E.
Lawrence; property man. Amos Alger;
illumination, John Long, jr.. and Willis
Brubaker.
HISTORIC HOME MOVIES
BY
OFFICIAL FILMS
8 MM. 16 M M.
The Axis has struck at these United States.
We are at war. What the following months
will bring no one knows. But Official Films
will do its utmost to bring you the record of
America's most crucial time. Beginning now,
Official Films offer a new series of one reel
Films (16 mm. Silent or Sound and 8 mm.
Silent) ; a series to be known as "America's
Fight For Freedom".
The first volume, dealing with the events
leading to the treacherous attack by Japan
and the Axis Powers is now ready. Additional
volumes will be released with news-flash
timeliness as events develop. Every American
will want to own these vivid pictorial records
of America's fight against the ruthless forces
of the Axis. Order Volume One today from
your photographic dealer and place an ad-
vance order with him for future volumes so
you may be sure of prompt delivery. These
films will all be released at Official Films's
usual low prices:
8 M M.— SILENT
16 MM
1 SILENT
j SOUND
$5.50
$8.75
$17.50
Send for FREE illustrated
Catalogue of over 50 films
ORDER THESE FILMS FROM YOUR
Dl
DEALER TODAY ^ —'— — — " j
&■«" ' "" , . .u„ fallowing: __
Address
City ■■
Frames from "The Beautiful Caverns
of Luray," success discussed here
Official Films
330 WEST 42nd STREET, N. Y. C.
34
JANUARY 1942
GOERZ
KINO-HYPAR
LENSES
f:2.7 and f:3
For regular and color movies of surprising
cjuality, high chromatic correction . . .
Focal_ lengths 15mm to 100mm— can be fitted
in suitable focusing mounts to Amateur and
Professional Movie Cameras
GOERZ Reflex FOCUSER
— Patented —
for 16mm Movie Camera users — voids PARALLAX
between finder and lens — provides full-size
ground-glass image magnified 10 times. Adapt-
i able to lenses 3" and up. Also useful as extension
j' tube for shorter focus lens for close-ups. Exten-
* sively used in shooting surgical operations, small
animal life, etc.
GOERZ Parallax-Free FOCUSER
and FIELD FINDER CONTROL
for Filmo 121 and Simplex-Pockette, no more off-
J center pictures, magnifies 4 and 8x.
For Detailed Information Address
Dept. MM-1
C. P. Goerz American Optical Co.
317 East 34th St., New York
American Lens Makers Since T899
QAlliLed Soiled
IS COMING TO l6MM FILM
WATCH FOR IT!
J.A.MAURERJNC
tlT EAST 2V ST. NEW YOBK
"Daniel Boone"
and many other 16mm rental Films
Please specify sound or silent when writ-
ing for free catalogue.
EWIS FILM SERVICE
216 E. 1st Wichita, Kansas
EXPOSURE METER REPAIRS
Our repair department is well equipped to repair any
make of photo-electric meter, foreign or domestic.
Restore your expensive meter to service.
For prompt service at reasonable charges send by
parcel post direct to
). THOS. RHAMSTINE* Meter Service Dept.
303 BEAUBIEN ST., DETROIT, MICH.
FAMOUS KNIGHT METAL LETTERS
FOR MOVIE TITLES
Ask for
samples
of the
most
beautiful
capital
and lower
case
letters
made
pttla your /M»« wtfj),
| METAL Letters ' '
Closeups — What filmers are doing
Deluxe sets, 225 pieces in case with corner pieces,
tweezers and cement $9.54 (includes tax) net. 160
Piece font $7.42. Specify white or black.
H.W. KNIGHT & SON, INC., Seneca Falls, N.Y.
In New York City for the Christmas
holidays, from his sheep ranch at Wor-
land, Wyo., Alexander Healy, jr., has
been a welcome visitor to the League's
headquarters, where he once worked.
Mr. Healy was associated with the
League's continuity department for
more than two years. Since returning
to sheep ranching, he reports that he
has tried to follow, in his own present
productions about his business, the pre-
cepts of good filming which he once
taught to others.
Add to Those Things We Never Knew
Till Now the fact that gold mining is
one of the chief industries of Colombia,
in South America. J. Ross Weather-
head, ACL, of Medellin, brought it to
our attention when he wrote to the
League, asking for suggestions on a
film of gold mining which, he says, is
carried on extensively in many differ-
ent ways. We suggested a treatment of
the subject, called Timeless Treasure,
and look forward to seeing the finished
film packed in at least gold plated
humidor cans.
As you read this, Benjamin F. Farber,
jr., ACL, should be formally embarked
on the United States Navy's course of
training as a cadet pilot in naval avia-
tion. Mr. Farber served for twenty six
months on the League's staff in the con-
tinuity department. Since that time, he
has been active in many phases of non
theatrical film planning and produc-
tion and was to have served the Navy
in the motion picture field until the
outbreak of hostilities.
Back in your August, 1940, number of
Movie Makers, you will find an ac-
count of a universal remote camera
control, designed by Dudley E. Porter,
ACL, of Beverly Hills, Calif. This in-
genious "gadget," it seems, has been
taking to the skies recently, to operate
16mm. cameras trained on the instru-
ment panels of new airplanes on their
test flights, thus recording data for
future engineering study. On one such
recent flight, however, an entire wing
of the test ship broke off, coming out
of a dive, crashing the airplane and
killing the pilot. Mr. Porter's robot,
keeping the camera turning through-
out this tragic accident, brought back
an invaluable record of the airplane's
behavior during its final plunge.
Illustrated on this page are the designs
of the Ten Best and Honorable Men-
tion award leaders for 1941. In the
event that you were not among the
lucky twenty five filmers who placed in
these categories, we thought that you
might like to see what the film awards
look like. In the original and in the
The 1941 Ten Best and Honorable
Mention leaders have new design
Kodachrome copies, the design was
executed on a brilliant blue ground,
with lettering in gold and black and
the perspective shaded by air brushing,
also in color.
To Marcel Tetrault, of Edmonton, Al-
berta, goes this month's award of, say,
an empty film spool for the most attrac-
tive letter of the period. Quite apparent-
ly a linotype compositor, Mr. Tetrault
addressed an epistle of some six para-
graphs to our Technical Department,
fully printed in type on a standard strip
of galley proof paper. The set was a
single column, sixteen picas wide, and
it seemed to be eight point on a ten
point slug. Curious, we slipped the gal-
ley to our staff proofreader, who reports,
admiringly: "A broken letter 'h' in line
11 of par. 4; a dropped 'e' in line 10,
par. 5."
It seemed rather like a page out of
Robert Service when we heard the other
day from Earl L. Clark, ACL, a mem-
ber of the Ontario Provincial Police, in
Canada. Ordinarily stationed near his
home in Hamilton, Mr. Clark was then
700 miles north, in the gold mining re-
gion of King Kirkland, on special as-
signment. In concluding his interesting
report, he wrote, "Please excuse the
writing. I am using an old beer barrel
for a table, seated in a log cabin where
the wind whistles down the chimney
and the thermometer reads fifteen be-
low zero." We can just see his only
candle stuck drunkenly in an old whis-
key bottle!
MOVIE MAKERS
35
The Automatic Splice Marker
and Brilliant Viewer
8 MM
16 MM
The Baia Motion Picture
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166 Victor Avenue
Highland Park, Michigan
Th
e clinic
NU-ART FILMS. INC.
Announce A NEW and UNIQUE
CATALOG of 16 MM FILMS . . .
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get your copy TODAY! —
It will facilitate selection of all FILMS
Classifies all subject-matter by cross-indexing
subjects in all categories
Describes all subject-matter comprehensively
Aids selection for particular usage
THIS NEW CATALOG IS OF EXCEPTIONAL
VALUE TO ALL USERS OF 16 SIM FILMS
BOTH FOR RENTING AND PURCHASING . . .
for home use as well as non-theatrieal purposes
including School. Church, Organization, Camp
and Commercial presentations.
CATALOG SENT UPON REQUEST OF
25c IN STAMPS OR COIN, FOR
POSTAGE AND HANDLING. ADDRESS:
NU-ART FILMS, INC.
145 W. 45th St., N. Y.
BRy. 9-3471
SERVICE & REPAIR
On All Motion Picture Equipment
PARTS. RENTALS, TRADES
GUARANTEED USED EQUIPMENT
Write for Bargain List
World Film Enterprises ftlWrt*™!,!
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CINE CLASSIC LIBRARY
1041 Jefferson Ave. Brooklyn, N. Y.
8RITELITE- TRU VISION
America's foremost line of motion picture
screens, spotlights, reflectors, paper safes, etc.
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TELITE) MOTION PICTURE SCREEN
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\J Vj 351 West 52nd St.. New York City
Mara-Movie
EDITING
HACK
— makes movie editing
a pleasure. Has 40 num-
bered sections to hold
8 or 16mm. scenes as
you cut them apart.
Take scenes from rack
and splice in continu-
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COMPUTE OUTFIT, $1.75 Postpaid
2 for S3.25; 3 for S4.75 Slara-Movie Editing Backs
are 17^4 s 11 in. in size and have collapsible easels and
snug-fitting covers. Sections are - s 2 in. for 8 or 16mm.
coils. 100 printed continuity slips and simplified direc-
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one today. Edit your movies the easy way! Inquiries In-
vited from Dealers.
MARATHON PHOTO SUPPLY CO.,Box415-B,Wausau,Wis.
(Continued from page 25)
for his "stunt," but it can be worked
with black and white as well, although
it is desirable to experiment with a few
test shots, to find the exact exposure in
your individual case.
Light frames We know tnat some
cameras produce a
light or overexposed frame at the start
of each scene. Most movie makers cut
out this light frame when they are edit-
ing their films, but some do not. If one
does not eliminate these frames, every
time a new scene reaches the screen, it
is preceded by a quick flash of light
that can become very tiring to the eyes
of the viewer. Cutting out these flashes
will make a presentation that is infinite-
ly better. Sometimes a minor repair to
your camera will prevent the appear-
ance of light frames; but, if you dis-
cover them in your own movies, you had
best write to the manufacturer of your
particular camera about the problem.
Title Contrast 0ne of the prob-
lems confronting
movie makers who film their own cap-
tions is that of proper contrast in title
footage, and we welcome the sugges-
tions of Edward J. Kingsbury, jr., ACL,
who writes as follows, "As you know,
the letters of a title must be pure white
on a jet black background, if you plan
to add a background scene by a second
exposure. The usual method of typing
the title with a silver or white ribbon
on black paper is good enough for a
regular title; but, if a scenic or other
background is to be added, it is neces-
sary to overexpose the title itself slight-
ly, if the wording is to stand out, since
it is seldom possible, otherwise, to make
the letters as white as desired. However,
if the title card is overexposed, then the
background scene will lose its sparkle.
"Thus, it is desirable to have a title
with jet black background and pure white
letters and then to expose it correctly.
The procedure in making a title card
that meets these requirements is as fol-
lows. Type the title in black on a thin
sheet of white paper or cellophane and
make a contact print from it in the same
way in which you would make a print
from an ordinary still picture negative.
The print, after being developed in the
//I I
If your meter indicates an exposure
of //16 or //22 for a Kodachrome
shot, set your camera at //ll for that
particular scene. Almost every color
shot which was filmed at //16 has
been underexposed, even though the
picture was taken in the mountains,
desert, tropical waters or on bright
sandy beaches in the full glare of the
GEARMASTER
for movie tripods
$17.50
Enables you to make real pro-
fessional panoram or tilt shots
with any movie camera. Elimi-
nates the use of a long handle
and is geared for panning and
tilting. It's revolutionary in de-
sign.
AMERICAN
BOLEX WINDERS
For 8 MM and 16 MM Reels
With the American Bolex Ten-
sion Control Winders you can
spin your film in rewinding
just as fast as you want to.
An adjustable drag, controlled
by a touch of the finger, gives
you the desired tension.
$12.00 per Pair
Mail Orders Filled
32nd St. near 6th Ave., N. Y.
World's Largest Camera Store
Built on Square Dealing
Established 1899
36
For Discriminating
MOVIE MAKERS
Rabsons, Inc. maintains a most complete
motion picture department fully stocked at all
times with both new and used cameras and
accessories. It is staffed by experts who not
only are competent to advise and answer
problems, but offer the courteeus, prompt
service that has made Rabsons famous.
For lists of used equipment, answers to
technical problems and prices on new cameras
and accessories, write to Karl A. Barleben,
F.R.P.S., Rabsons Personal Service Con-
sultant, who will be pleased to personally
takp care of your movie needs.
For movie and still photographic
equipment, shop Rabsons, Inc., the
store of personal attention.
All used items guaranteed 90 days and sub-
ject to our 10-day free trial offer. Payment
terms arranged to suit your convenience.
PHOTOGRAPHY • SPORTS • RADIO • RECORDS
111 WEST 52 ST
NEW YORK
New A-to-Z
COLOR c
TITLE
OUTFIT
6
.50
TITLES
for making
KODACHROME
White or Black
ON PHOTOGRAPHIC BACKGROUNDS
Outfit includes: A-to-Z Title Maker (12 Alphabets,
WOO Initials) 30 Figurettes in color; Title Frame
(1" x 9" area) 12 sheets of 8" x 10" clear, washable
Acetate Film; 6 jars of special Colors (Red, Yellow.
Blue, Green. White, Black), 10 Photographic 8" x 10"
Background Prints; 10 sheets 8" x 10" Tracing Paper;
Brush and complete instructions. FBEE SAMPLE KIT.
Complete outfit at your dealer or send $6 50 direct
A-to-Z MOVIE ACCESSORIES
175 FIFTH AVE., Dept. M30, NEW YORK CITY
(ST) KODACHROME (££)
— of Alaska, Canadian Rockies, Waterton Lakes Park,
Yellowstone, Zion Canyon, Yosemite. Also desert scenes,
including closeups of cactus blossoms, vast fields of
California poppies, etc,
18c per foot for originals; 15c for dupes. Any length
desired, from one scene to 400 ft.
GUY D. HASELTON
7936 Santa Monica Blvd.
Hollywood, Calif.
S&5 COMPLETE WITH DURABLE
FIBRE TRIPOD COVER
C dinar t Profession al Type Tripod
Finely constructed tripod gives spring or motor driven
camera rigid support and exceptionally smooth pan
and tilt movement. Ideal for all 16mm or 35mm
Eyemo or Devry cameras. Special head accommodates
Cine- Special at no extra cost. Write for circular.
CAMERA-MART,//rr. 70 W.455T.N.Y.C.
usual way. will have good contrast, and
the lettering will be in white against a
black background. To insure strong con-
trast, it is a good idea, when you type
the title, to place a sheet of carbon
paper behind the paper or cellophane,
with the inked side toward the paper,
and to strike each letter of the title
twice. The photographic paper should
be of a high contrast type, and it should
have a matte surface. If you prefer to
type on paper rather than on cello-
phane, try using a thin sheet that is
made from carbon copies."
There's fun in titles
(Continued from page 14)
ward the camera. Out of yellow paper,
I cut the letters S, W, I, M and placed
them upright on the mirror and against
the towel. Their golden richness and the
royal blue of the towel were reflected in
the mirror. Perfect!
I filmed the setup, lying on my stomach,
with the camera on the floor. First I
focused carefully and then, after I start-
ed the camera, I whispered S, W, I, M
three times and stopped the clicking.
I got what I wanted. The titler had been
wonderful — but my furniture was prov-
ing to be grand as stage sets.
There followed a number of settings
with walls, doors, upset tables, chairs
and the floor for backgrounds. Then I
graduated to a real miniature stage set
— as described in one of the camera
books. We made it here at home.
From one of its struts I hung a heav-
enly blue evening dress and, on the
background of the floor of its stage, I
bunched a green wool coat, so that it
made hills along the edge of a mirror
lake. I placed white letters upright
against the coat, so that they formed
the words, Lake Ripley. The letters, of
course, were reflected in the mirror. I
'"panned" slowly across this title scene,
moving the camera from left to right.
For eight seconds I kept the camera
clicking. I spelled the words aloud as
I went along. The product is my pride
and joy.
A black dress backdrop formed a per-
fect setting for a jointed orange cat. He
wiggles his head and arms, to herald
the coming of Hallowe'en pictures. I
wound up the cat, I clicked the camera
and watched him perform. Presto! A
title was made.
Another time I pulled a waddling
duck across the stage by means of a
long string. He precedes some baby
scenes. I warn you — one idea leads to
another. You will soon be begging to
do some titles for your friends, to satisfy
your craving to create title effects.
I used color film exclusively for this
particular film, because all the scenes
were in color. However, black and white
film could be made to perform equally
unusual and interesting things.
JANUARY 1942
Now that I have heard of turning the
16mm. camera upside down, I shall film
blocks that spell out my title, after
which I shall upset them by pulling a
string that lies under them. All the
while I shall be filming this action.
When I splice the segment in, I shall
splice it "north end south," so to speak,
being careful not to get the dull and
slick sides in wrong. The result will be
that the blocks, lying in complete dis-
order, spring into place to spell the title.
It's magic.
The line of ideas is never ending.
Possibilities leap at me at all hours, in
all locations. I am now a snipper of
pictures from magazines, cards, circu-
lars. I save pieces of materials and
boxes. The web has caught me up, but
it gives me many hours of delight.
Titles at home? There couldn't .be
more fun!
Practical films
(Continued from page 18)
to signs and signals, is shown as a
model for the car driver. The film,
which was released in the middle of
November, is designed for restricted
distribution, and its presentation will
be accompanied by a trooper or by
some member of the Police Safety De-
partment.
Popular Rose Film
W. H. Mecom, ACL, of Houston,
Texas, reports that the film that he pro-
duced for the Freeport Sulphur Com-
pany, of the same city, has been screened
in nineteen States. Roses at Home, a 900
foot, 16mm. color production, traces,
with elaborate care and scientific pre-
cision, the proper methods of planting
and cultivating roses, ending with rose
displays in the home. Mr. Mecom ac-
knowledges the aid of the Texas Agri-
cultural Experiment Station, especially
by Dr. J. C. Ratsek, horticulturist, and
Dr. E. W. Lyle, plant pathologist of the
Sub Experiment Station, Number 2, at
Tyler, Texas. Roses at Home is offered
on the free loan basis — see Free Film
Revieivs in this number of Movie Mak-
ers.
Medical Film Library at Temple
Robert Mallory, ACL, of Philadel-
phia, is completing a series of medical
films for the proposed library of ob-
stetrical movies at the Temple Univer-
sity Hospital. The doctor featured in
these films is Dr. Thaddeus L. Mont-
gomery, professor and head of the De-
partment of Obstetrics and Gynecology
at the Temple School of Medicine in
which Mr. Mallory is enrolled. Also re-
cently completed is a 16mm. Koda-
chrome movie, Nerve-Muscle Prepara-
tion of a Frog, for the Physiology De-
partment. In this film, Mr. Mallory was
permitted to use two sets of reflectors
MOVIE MAKERS
37
Safety in Shipment
16MM
Insist on
Cases that
bear this
trade-mark
For
Shipping —
Express or
Parcel Post.
SIZES
200, 400, 800, 1200, 1600 & 2000 ft.; also for
disc records. Stocked for immediate deliv-
ery. If your dealer or jobber cannot supply
you, write us direct.
FIBERBILT CASE CO.
40 WEST 17th ST. NEW YORK CITY
WHEN YOU PLAN
YOUR NEXT FILM
Don't forget
MOVIE MAKERS
1942 Selection
of the TEN BEST and
THE HIRAM PERCY
MAXIM AWARD
It is the oldest annual selec-
tion of amateur movies in
the world. To win the Hiram
Percy Maxim Award or to
win a place in Movie Makers
Ten Best is to capture the
greatest honor offered to
movie makers.
Any amateur movie is elig-
ible for consideration for the
1942 Ten Best and any ama-
teur movie not made for
compensation from a client
is eligible for consideration
for the Hiram Percy Maxim
Award, with its prize of
$100.00 cash.
Plan your films with an eye to
submitting them to MOVIE
MAKERS for 1942 honors.
MOVIE MAKERS
420 Lexington Avenue
New York, N. Y.
LEARN TO PRODUCE
SOUND FILMS
in a Professional Studio
Actively engaged in Movie Production. In-
terior, exterior filming and recording tech-
nique, script writing, directing.
Amateur and Professional classes now forming.
Phone, visit or write for Folder M.
HARTLEY SCHOOL OF FILM MAKING
20 West 47th St., N. Y. C. LO. 3-2343
with No. 2 bulbs. However, in other
films of operations, he worked success-
fully with a telephoto lens and only the
ordinary operating room illumination.
Courses by ACL Members
Three members of the Amateur
Cinema League are giving courses in
movie making this winter, two in New
York City and one in Buffalo, N. Y.
Charles H. Coles, ACL, chief photog-
rapher of the American Museum of
Natural History, is giving a course, on
alternate Fridays, at the Art School of
the Brooklyn Museum, called Motion
Picture Photography for Amateurs.
Every step in the production of amateur
motion pictures is included.
Kenneth F. Space, ACL, the League's
technical consultant, has a weekly
course, on Thursday evenings, at the
New York University School of Educa-
tion, called Elementary Movie Making
for Educational Purposes.
George F. Thomas, ACL, has been
conducting a course, Monday evenings,
at the Buffalo Museum of Science. The
course is called Making Movies, and
many amateur productions will be used
for illustrative purposes.
Cornerstone to Moving Day
Starting his film record on the day
that the cornerstone was laid, J. George
Cole, ACL, has finished a two reel
movie in 16mm. of the Trenton (N. J.)
Housing Project. Aided by J. Connor
French, chairman of the project, Mr.
Cole begins his film with scenes of
Trenton slums before the housing de-
velopment was initiated. The movie
then presents the cornerstone ceremony
and next shows a record of the con-
struction of the buildings. Concluding
scenes show families in their new
homes. A local civic group asked Mr.
Cole to make the film for publicity
purposes.
Bailey Reports
The completion of three new films is
announced by Bailey Film Service, of
Hollywood, Calif. Two musical films in
16mm. sound have appropriate pictorial
backgrounds which intensify the effect
of the music and which add a visual
interest. Londonderry Air features Eu-
gene Ormandy and the Minneapolis
Orchestra, and In a Monastery Garden
presents Lew White at the organ and
an accompanying harp and chorus. The
third release, Iron Mining and Manu-
facture, portrays the story of iron, from
the mines near Marquette, Mich., to the
blast furnaces in Detroit. A study
guide is included with this film, making
it suitable for high school and trade
school use.
*
*
¥
¥
*
3ft
Actual experience alone can show
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Insist on Radiant at your dealer's,
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MANUFACTURING COMPANY
1140-46 W. Superior St., Chicago, 111.
38
JANUARY 1942
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in point of popularity . . .
that's why I'm so sold on
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binder for your copies of this magazine. A wire
device enables you to insert and remove the
magazines easily. PRICE SI. 50
Send your order accompanied by remittance to
MOVIE MAKERS
420 Lexington Ave., New York, N. Y.
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WARN THE MAIDEN IN DISTRESS
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Sample Programs
WRITE
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DD JUSTICE TD YOUR MOVIES
with PROFESSIONAL TITLES
JOHN
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CLUB HAS RATING CHART
DEAN H. ASHTON, ACL
THERE is something about a movie camera that gives the average man or woman
an unexplained superiority complex.
With occasional exceptions, the conclusion is reached that the pictures taken
are a few notches — if not quite several — above the efforts of ordinary mortals.
Like as not, that feeling of elation arises largely because the film laboratory has,
through its seeming magic and wizardry, done excellent work with a ribbon of
celluloid that is no better than average.
Many may prefer to continue happy in their own delusion. However, others seek
occasionally to have a cold appraisal made of their filming efforts. Many of the
clubs that are organized by amateur movie makers devote a considerable part of
their time to friendly criticism of films that are projected at their meetings.
In handling this activity, some clubs have adopted a definite rating chart. After
a two years' experience with ratings, through the sponsorship of a local Film of
the Year contest, the Trenton (N. J.) Movie Makers, one of the active groups in
the East, has now adopted an official chart.
It is offered here for the consideration of other amateur movie clubs.
Camera technique (45%)
Proper exposure and lighting
Choice of angles
Proper length of scenes
Steadiness
Structure and editing (25%)
Interesting opening
Well established continuity or sequence
Pleasing or convincing climax
Titles (15%)
Main title (allow 1% to 5% according to
effectiveness)
Subtitles (allow 1% to 10% according to how
much they add to effectiveness of film —
consider if they are inserted in logical
sequence, if they are adequate in number,
how well they are phrased, choice of mate-
rial and so forth)
Entertainment value (15%)
Subject matter
Suggestion:
If very interesting, up to 15%
Interesting, 10% to 12%
Mildly interesting, 5% to 9%
Lacking appeal, 0% to 4%
Maximum1
rating %
25%
10%
5%
5%
5%
15%
5%
% Obtained
10%
15%
Total 100
7c
Producer
Date
Title of film
9/i-L
SAW
1 327 S. WABASH AVE. CHICAGO, ILL.
'You know, I sometimes think the Smythes are overdoing their hobby.'
MOVIE MAKERS
39
Amateur clubs
(Continued from page 21)
Crosley, ACL, for his film, The Doctor
Takes A Wife, with Bob Allen reported
a close second with Canada's Peace.
Other place winners were Mr. Crosley,
with Sea City, and Dr. Ira T. Parker,
for Happiness Ahead. Music and sound
effects on disc accompanied all the films
in their award winning presentations.
Washington 8's elect New offi-
cers for
the coming year have been elected and
announced by the Washington 8mm.
Movie Club, as follows: William J.
Brown, ACL, president ; Maurice Hejnal,
ACL, secretary and treasurer. William
S. McConnell, ACL, retiring president,
was seated on the board of directors.
Films seen at the election meeting were
Enchantment Through Beauty, a 16mm.
sound on Kodachrome publicity film,
produced by Byron's, Inc., of Washing-
ton; Mexican Color, three reels of 8mm.
color footage, produced by Enrique C.
Aguirre, ACL, of Mexico City, and pre-
sented to the club by Al W. Sivewright.
Metro Sees Members' films have
been the featured
screen fare at early season meetings of
the Metro Movie Club, gathered in
Chicago's River Park Field House. The
programs have included The West In-
dies, by George P. Jensen; A Western
Vacation, by Fritz Weidig; Alaska, by
William Thumann ; European Holiday,
by A. H. Elliott, ACL; People and
Places of Chicago, Highway 66 and
Symphony in Color, by E. H. Olds.
A.M.S. in Salon Members of the
Amateur Movie
Society of Milwaukee took part this
fall in the All Milwaukee Photographic
Salon, the first time in the history of
this project that amateur motion pic-
tures have been represented. Mayor
Carl Zeidler opened the ten day festival
with a dinner at the City Club, while
two days later the A.M.S. presented
a full evening's program of prize win-
ning color films at the Layton Art
Gallery, as its contribution to the pho-
tographic gathering.
Awards in Australia Brown Men
and Red
Sands, a 16mm. Kodachrome record
film of an expedition into the interior
of Australia, took first award and the
A. J. Sherlock Gold Cup in the an-
nual competition recently concluded by
the Australian Amateur Cine Society,
in Sidney. It was produced by C. J.
Mountford, of Adelaide. Second award
and the F. W. Pratt Silver Trophy
went to Fred C. Ells, FACL, for his one
reel, Kodachrome study, New Hamp-
shire on Parade. Mr. Ells, a distin-
guished internationalist in amateur
movies, serves as liaison officer for the
Australian society in the United States.
C. W. Francis, of Queensland, took
third place with his single reel, color
record, Lamington National Park. The
judges were Reginald Perier, of Rob-
erts Russell Pty., Ltd., and Tom Price,
of Kinelab Pty., Ltd.
Kenosha awards About 150 mem"
bers and guests
attended the recent annual contest meet-
ing of the Kenosha Movie Makers Club,
in Wisconsin, with first award going to
W. W. Vincent, jr., ACL, for Dad and
I Take a Walk. Lewis Rasmussen, ACL,
took second place with Northern Pines.
Other place winners, in order, were Ar-
line Yonk, ACL, Earle Munger and
Dick Cunningham, jointly, and Eldon
Voelz. The judges were Leo Calvin,
Clarence Baylor, Gustave Sanftheil and
C. Boardman.
For Hartford Where The Americas
Meet, the feature
length travelog of Puerto Rico, which
recently won Honorable Mention for
Esther and Morton H. Read, ACL, was
presented late in November by Mr. Read
before members of the Hartford Cinema
Club. The film is accompanied with an
effective narrative and musical scoring.
At an earlier gathering, held at the
Avery Memorial, members of the cine
group joined with the Hartford County
Camera Club at an illustrated lecture,
Recent Developments in Color Photog-
raphy, presented by Herbert H. John-
son, of the Eastman Kodak Company.
Chicago Chooses The Chicago
Cinema Club,
ACL, veteran movie group of the Mid-
west, has elected new officers for the
coming year as follows: Isidore Vise,
president; M. A. Hagel, vicepresident;
Edward Bezazian, treasurer; Barbara
Hubbard, secretary. Serving with them
on the board of directors are Peter
Bezek, A. G. Diedricksen, Charles Ed-
wards and George Kirk, ACL. Recent
program items have included Nature's
Western Playground, by T. H. Phillips ;
Sailing Sheltered Seas to Alaska, by
Arthur Josephson; Soviet Russia, by
Lily Thye.
Exchange in Illinois A successful
exchange of
outstanding amateur films between two
clubs in Illinois has recently provided
an effective program for each group.
The cooperating units were the Rock-
ford Movie Makers, ACL, and the Tri-
City Cinema Club, with headquarters
in Moline, while the visiting films" were
contest award winners from recent com-
petitions of each group. Seen on the
Tri-City screen, from Rockford, were
two "Tooterville" trip films by Paul
Dohlman and Robert Jacobs; The ABC
Sauna m jilm
fat me
Cine-Kodak Special
MBICON CINE-SPECJAl 'BUMP'
Soundproofed enclosure for Cine-Kodak
Special .... £195.00
AUfRICO/V SOUND DRIVE
Synchronous molor drive for Cine-Kodak
Special Camera .... $125.00
ADRICOlN 16-nim. RECORDER
Variable-area sound on film, for double
system recording wiih any synchronous
molor driven 16-mm. camera. Amplifier with
background-noise reduction and mixers for
combining speech and music. Including
dynamic microphone, instructions and cases
for Recorder, Amplifier, Accessories $695.00
Ask your Dealer, or write today
for free descriptive booklet.
AURICON 2>i<*uo«,
E. M. BERNDT CORP.
5515 SUNSET BLVD., HOLLYWOOD, CALIF.
MANUFACTURERS OF SOUND-ON-FILM
RECORDING EQUIPMENT SINCE 1931
40
JANUARY 1942
CI
a ss i
f i e d
advertisin
g
■ Cash required with order. The closing date for
the receipt of copy is the tenth of the month pre-
ceding issue. Remittance to cover goods offered
for sale in this department should be made to the
advertiser and not to Movie Makers. New classi-
fied advertisers are requested to furnish references.
■ Movie Makers does not always examine the
equipment or films offered for sale in CLASSI-
FIED ADVERTISING and cannot state whether
these are new or used. Prospective purchasers
should ascertain this fact from advertisers before
buying.
10 Cents a Word Minimum Charge $2
| Words in capitals, except first word and name,
5 cents extra.
EQUIPMENT FOR SALE
■ BASS SAYS : A Happy New Year to you for
1942. USED CAMERAS: 8mm. Keystone, f/2.7
lens, with case, $27.50; 8mm. Bell & Howell
Sportster, Cooke //2.5 lens, with case, $57.50;
8mm. Cine-Kodak Model 90, //1.9 lens, $87.50;
16mm. Victor Model 3, //3.5 fixed focus lens,
$42.50; 16mm. Filmo 70A, //3.5 Cooke lens,
case, $45.00; 16mm. Simplex Deluxe Magazine,
//1.9 lens, $54.50; 16mm. Victor 5, black finish,
1" fixed focus //3.5, 1" Wollensak //1.5 focusing-,
3" Wollensak telephoto focusing-, case, $137.50;
16mm. Filmo 70DA, 20mm. Cooke wide angle
//3.5, 1" focusing Cooke //2.8, 3" Wollensak
telephoto //4, with case, $225.00; 16mm. Filmo
Master Auto Load turret model, 15mm. wide
angle //2.7 fixed focus, 1" //2.7 focusing Cooke,
2" Acura //2.8, with case, list $350.00, our price
$247.00; 16mm. Movikon, latest model, Sonnar
//1.4, coupled range finder, with case, $325.00.
Limited number: used Craig Jr. complete splicer,
rewind and editing outfit— fine value at $26.80.
USED PROJECTORS: 16mm. Bell & Howell
Model 57A, 400 watt lamp, with case, $50.00;
Kodascope E, 16mm., 750 watt lamp and case,
$52.50; 16mm. Victor Model 16, 750 watt lamp
and case, $75.00. Be sure to write Bass before
you trade or buy. Free on request: 84 page Bass
Cine Bargaingram, an authority on silent and
sound equipment. BASS CAMERA COMPANY,
Dept. CC, 179 W. Madison St., Chicago, 111.
■ CINE-KODAK Special, //1.9, excellent. Back-
wind, audible shutter, frame counter, fades, dis-
solves; used 5 times. $325.00. CAMPUS, 2025 E.
7th St., Brooklyn, N. Y.
EQUIPMENT WANTED
■ WANT: USED 16mm. SOUND ON FILM
PROJECTOR. IRVING J. BRAUN, 5125 No.
Lotus Ave., Chicago, 111.
FILMS FOR RENTAL OR SALE
■ FOR PROFIT lease THE LITTLE FLOWER
OF JESUS. All-English talking. Long or short
terms. Sole distributors: SUNRAY FILMS, Inc.,
Film Bldg., Cleveland, Ohio.
■ ROADSHGWMEN— SCHOOLS : Finest 16mm.
sound programs, $5.00 per day; $10.00 per week
and up. Also used 16mm. sound film for outright
sale. MAJESTIC PICTURES, 1611 Davenport,
Omaha, Neb.
■ 8-16-35mm. FILMS bought, sold, exchanged.
Silent, sound, $2.00 up. Odd reels, $1.50; 1000 ft.
35mm., $.95. Catalog, sample film, 10c. INTER-
NATIONAL, 2120 Strauss, Brooklyn, N. Y.
■ 8MM. 200' comedies, cartoons, travels, $2.75.
30 x 40 screens, $1.95. 16mm. sound, silent projec-
tors, film and accessories. Write for free bargain
bulletin. ZENITH, 308 W. 44th St., New York
City.
■ SENSATIONAL offer: Rent 50— 8mm., 16mm.
full length reels, $10.00. Films exchanged; li-
brary subjects sold. GARY FILMS, 369 E. 55th
St., Brooklyn, N. Y.
■ MONEY maker! "The World's Greatest Pas-
sion Play." 16mm. and 35mm. sound or silent.
Purchase or rent everywhere. Superior to Ober-
ammergau play. Write HEMENWAY FILM CO.,
33-B Melrose St., Boston, Mass.
■ RELIGIOUS pictures, including World's best
Passion Play, silent and sound, 35mm. and 16mm.
Rent or sale. ALL-SACRED FILM CO., 31 Mel-
rose St., Boston, Mass.
FILMS FOR EXCHANGE
■ EXCHANGE: Silent pictures, $1.00 reel.
Finest sound film programs, rent reasonable; also
sell. CINE CLASSIC LIBRARY, 1041 Jefferson
Ave., Brooklyn, N. Y.
I SOUND, silent films exchanged, rented,
bought; 8 & 16mm.; always bargains. Get on our
list. FRANK LANE, 80 Boylston, Boston, Mass.
■ 8MM. FILMS! Castle Releases. 50 ft. 180 ft.
New prints. Good used prints. Sales. Exchanges.
Trade-ins. RIEDEL FILMS, Dept. MM-142, 2221
W. 67th St., Cleveland, Ohio.
MISCELLANEOUS
| EDITOLA — for double system 16mm. Sep-
arate heads for sound and picture. Shows picture
and reproduces sound. Particulars. EDITOLA,
894 Woodland Ave., Oradell, N. J.
B YOUR 16mm. movie frames for still projection.
Cut desired frames, allowing half frame each side,
sending them with $1.00 per dozen. I will return
them mounted on 2x2 card slides. M. LIBBY, 60
Hudson St., N. Y. C.
H SOUND on disc 16" professional type Federal
Recorder bought last March in paneled solid ma-
hogany floor cabinet. Presto synchronizer and in-
struction book for making lip synchronized rec-
ords; 30 — 16" aluminum discs, brush pickup, many
other extras. All $325.00; cost $790.00. Write
G. CABLE, 2075 Tasso St., Palo Alto, Calif.
Build It
THE ACL WAY!
too
•>OOJ
poo
BuiltbUtfj. a T
Zbucd<1uA4daUe
This Amateur Cinema League
booklet covers the procedure for
building the increasingly popular
adjunct of personal filming — the
Dual Turntable.
Thirty pages of helpful informa-
tion on building and using a dual
turntable — illustrations and con-
struction diagrams.
This booklet is available to all
League members without charge.
If you have asked to have your
name placed on the booklet mail-
ing list, a copy has already been
sent to you.
If you are not on the list, but are
a member, you may have a copy by
writing to the League for it. It is
available only to League members.
Amateur Cinema League, Inc.
420 Lexington Avenue New York, N. Y.
Movie and Illinois, by Elizabeth and
Florence Roberts, ACL; One Day in
October, by Adolf Gustalson. In ex-
change, Tri-City sent to their neighbor
club films from Dr. Paul White, ACL,
Willis Lathrop, ACL, Georgia First,
ACL, Tom Griberg, ACL, and Harold
Swanson.
Long Beach elects New officers
for the Long
Beach Cinema Club, in California, have
been elected for the coming year as
follows: Robin Hadley, ACL, president;
Dr. Franz Buerger, first vicepresident;
Harry Ward, second vicepresident; Pru-
dence Bracklow, secretary; Mrs. V. P.
Whitely, treasurer. Val Pope has been
appointed club projectionist, with Earl
Everly as sergeant at arms. Mrs. Mil-
dred J. Caldwell, ACL, under whose
vigorous leadership the club has pushed
on to new successes in the last year,
will serve on the board of directors.
Schenectady sees A varied pro-
gram of out-
standing films was seen by members of
the Cine Group of the Schenectady Pho-
tographic Society, ACL, according to a
report in The Graphic, attractive club
news bulletin. From the club's own mem-
bership came Land of Acadia, by Dr.
C. W. Woodall, followed by Mr. Motor-
boat's Last Stand, from the Club Film
Library of the League, and Gem of the
Rockies, from the Y.M.C.A. Motion Pic-
ture Bureau. The appointment of a new
program committee by the Cine Group
has been announced as follows: G. H.
Bainbridge, S. B. Canter, ACL, F. H.
Eastman, C. M. Figueroa, ACL, Leo
Schaab, C. H. Steenstrup and Ken Ten-
nant.
Production 4 Working from a story
selected by William
Bornmann, the 8-16 Movie Club of Phil-
adelphia already has launched Produc-
tion 4 in its active series of film story
work. Others listed on the technical
staff are Harry Brautigam, producer;
Leonard Bauer, director; George Whip-
ple, assistant director; John Burke,
cameraman; Frank Brown, assistant
cameraman; Frank Heininger, scenar-
ist; Philip Oetzel, property man; Milton
Blumberg, electrician; Arthur Dixson,
assistant electrician; Louis Sobel, make-
up; Helen Bornmann, still photogra-
pher; Sarah Heininger, script girl.
Ottawa elects The Movie Makers
Club of Ottawa, in
Canada, gathered recently at the home
of Mr. and Mrs. Roland Garlick for its
annual general meeting and election of
officers. Returned to the new board were
Dr. P. E. Patterson, president; Dr. G.
M. Geldert, vicepresident; J. H. Hardy,
secretary; Miss F. Kilduff, assistant sec-
retary; Mr. Garlick, treasurer. The pro-
gram of the evening was devoted to the
MOVIE MAKERS
41
Murray Tucker, ACL
Frank E. Gunnell, ACL, (left) and
Leo J. Heffernan, ACL, at recent
M.M.P.C. public presentation
subject of film editing, with Norman
Campbell, ACL, M. J. Sucee, ACL, and
Mr. Garlick illustrating their several
points from films of their own produc-
tion.
S. I. sees winner The Will and
The Way, 1940
Maxim Award winning 8mm. film, by
Chester Glassley, ACL, of Dallas, Texas,
was the feature presentation at a recent
meeting of the Staten Island Cinema
Club, held in the home theatre of Ed-
ward W. Wilby, ACL. Rounding out the
program were New York World's Fair,
by Fred D. Koehler, jr., ACL; A Cor-
ner of Maine, by Helen M. Batz; Baby
Days, by Helen M. Loeffler.
New in New York ThePark-
chester Cine
Club, formed within the environs of
Parkchester, "The Town of Tomorrow,"
has been organized recently in that
mammoth housing development in New
York City's northern reaches. First offi-
cers are George Kirstein, president;
William Welch, secretary; Herman Get-
ter, ACL, treasurer; Martin Weled-
niger, program chairman. Meetings are
being held on alternate Wednesdays in
the homes of the members.
Color in Norfolk Members of
the Norfolk
Amateur Movie Club, in Virginia, saw
two films and heard one lecture about
color processes at a late meeting, ac-
cording to reports in The Editor, news
bulletin. The lecture and film combina-
tion was The Kodachrome Process, a
presentation of the Eastman Kodak
Company, given by H. B. Bennett, a
color photographer of Norfolk, while
the other movie, furnished by the Spec-
trum Products Company, outlined the
step by step processes of making a four
color print from separation negatives.
Also seen on the Norfolk screen have
been films by R. J. Kinney, ACL, C. A.
Danner, Wilson Robertson, Larry Page,
E. J. Barry and R. B. Smith.
In Mount Vernon An election of
officers and
clinical screenings of members' films
have been featured at early winter meet-
ings of the Mount Vernon Movie Makers,
in New York's Westchester County.
Guiding the club for the current season
will be Walter Bergmann, ACL, presi-
dent; William Knight, vicepresident;
George Kirstein, treasurer; James J.
Berman, secretary. The members' films
seen by the club were submitted by Mr.
Bergmann and Mr. Berman. and they
included a film produced by them joint-
ly for the Mount Vernon chapter of the
Red Cross.
San Francisco sees Clinical
screenings of
members' films and a club contest, as
yet unreported, have busied members of
the Cinema Club of San Francisco, now
meeting monthly in the Georgian Room
of the Hotel Whitcomb. Among the
films seen have been Bryce Canyon, by
S. V. Rothschild; A Vacation the Kids
Will Remember, by Eric M. Unmack,
ACL; High Sierra, by Fred Young-
berg; Ice Follies, by John Smurr, ACL;
Tamalpais Mountain Play, by Mrs. John
G. Seitz; Wings Over America, by Al-
bert E. Sigal, ACL; Southern Trails,
by Walter Darmstadt.
AllentOWn aids Working with the
closest cooperation
of many city officials, members of the
Allentown Y.M.C.A. Cinema Club, ACL,
in Pennsylvania, completed early this
winter a 16mm. publicity picture for
the Lehigh County Community Chest.
Titled Follow Your Heart, the scenario
was written by Max Levine and directed
by Arthur W. Heydt, president of the
cinema club. Others on the technical
staff of the club were Nelson Meitzler,
Charles Vogt and Charles Gerhart. Wil-
liam Rippe, of local Station WCBA, re-
corded on discs the narrative and mu-
sical score especially prepared for the
film by John W. Oberly, president of
Allentown Business College and co chair-
man of the Community Chest publicity
committee. The film has received wide
and successful distribution throughout
Lehigh County in support of the annual
Chest drive.
For Oklahoma City Meeting on
third Fridays,
in the board of directors' room of the
Chamber of Commerce, the Movie Mak-
ers Club of Oklahoma City has the in-
teresting custom of varying the program
committee with each gathering. Under
the direction of Dr. J. D. Mills and
H. A. Houston, ACL, the club saw His
Off Day, from the League's Club Li-
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42
JANUARY 1942
brary; One Thousand Miles, a sound
on film production by Ray Reeves;
Amateurs on Parade, a record film of
club members; and Walter Opp, of the
Eastman Kodak Company, addressed
the group on Color Slides and Amateur
Movies. At a later gathering, two com-
mitteemen, R. F. Danner and William
Vahlberg, presented Florida, Cuba and
the Bahamas, by Mrs. E. M. Watson;
New England and Eastern Canada, by
P. B. Robberson, ACL; The Turner
Ranch, by Arthur Ramsey.
News of the industry
(Continued from page 26)
with a burning life of 6000 hours. Valu-
able data on the use of infrared lamps
for speeding up film processing can be
had from the Wabash Photolamp Cor-
poration.
Cutlohn moves A change of ad-
dress has recently
been made by Walter 0. Gutlohn, Inc.,
distributors of 16mm. sound and silent
entertainment, educational and spe-
cialty films. The new address is 25
West 45th Street, New York City, a few
doors removed from the former loca-
tion. Improved facilities in the new
quarters will give even better service
to Gutlohn customers than before, it is
said.
Moviquiz A novel idea, one of the
first to involve the use
of movies in playing home games, has
been introduced by the Bell & Howell
Company, 1801 Larchmont Avenue,
Chicago. This is Moviquiz, described as
a fascinating new game. It is played
with one or more Moviquiz films, which
may be rented or purchased from a Bell
& Howell dealer. The participants are
supplied with the Moviquiz Kit, includ-
ing rules, question sheets and answers.
A kit for each film is supplied at a cost
of twenty five cents. Each player writes
down his own answer; then the film is
run, which supplies the correct answers
in a graphic way. Present Moviquiz sub-
jects (with more to come) include
such classifications as See America
First, Our Colorful World, Sports, His-
tory and Current Events and others.
Training films Prepared under the
direction of the
TJ. S. Office of Education, the first
group of machinist and industrial train-
ing films, of a series of more than fifty,
is being distributed by Castle Films,
Inc., 30 Rockefeller Plaza, New York
City. These movies may be purchased
at a price that represents only printing
and shipping cost. The Bell & Howell
Company, of Chicago, in addition to
its own intensive use of the films, is de-
voting its film library channels to the
loan and sale of copies to industries,
schools and other organizations. The
pictures can be presented on any 16mm.
sound projector, but silent machines
cannot be used. Organizations having
no machines can make arrangements
for projection service and can borrow
copies of the films desired at a mod-
erate handling charge.
Howe feted A testimonial dinner
to Percy Y. Howe,
president of the firm of George Murphy,
Inc., of New York City, was given by
the Guild of Photographic Dealers of
New York on Tuesday, November 25,
at the Hotel Edison. The occasion cele-
brated the forty fifth year of Mr.
Howe's activities in the photographic
industry, and it was attended by a
large representation of the photographic
trade, both in and out of New York
City.
Barleben-Rabsons Expert techni-
cal advice on
customers' problems in the still and
movie fields is on tap at Rabsons, Inc.,
Ill West 52nd Street, New York City,
for Karl A. Barleben, F.R.P.S., has
been appointed personal service con-
sultant to the firm.
Stock shots of Americana Aval-
uable
collection of stock shots, covering
American life, places and customs, has
been made available. These cuttings,
derived from the film, The City, have
been classified for ready reference by
William W. Newcomb, 10 Rockefeller
Plaza, New York City.
Nu-Art catalog A uniciue refer-
ence list, com-
pletely classifying films offered by
Nu-Art Films, Inc., 145 West 45th
Street, New York City, is announced.
In the new brochure, emphasis has
been laid on the selection of films by
educators, and a valuable cross index
system has been incorporated. The new
catalog is procurable at twenty five
cents a copy.
Bee Bee timer A new> automatic
timer and switch,
for making accurate exposures for still
photographic enlargements, has been
introduced by Burleigh Brooks, Inc.,
126 West 42nd Street, New York. Com-
pact in construction, this instrument
may be set to give a wide range of ex-
posure intervals and will repeat this
exposure time indefinitely at the touch
of a switch until the index is changed.
Two outlets are provided, one of which
controls the exposure at the enlarger,
while the other turns on the safelight
when the exposure is completed. The
dual action is fully automatic. The price
of this accessory, called the Dual Con-
trol Auto-Timer, is $23.00. Details may
be had from Burleigh Brooks. The Bee
Bee Illuminated Viewer, for Koda-
chrome and other transparencies, has
been priced at $11.50.
Defense screen To aid in the
conservation of
metal, Motion Picture Screen & Acces-
sories Company, Inc., 351 West 42nd
Street, New York City, has designed a
new projection screen, called Defense
Model. The new screen, of the cabinet
type, may be raised or lowered quickly.
Although made with a minimum of
metal parts, it is said to be steady and
strongly constructed. The surface is
glass beaded, and the screen has a black
masking border. It is contained in a
solid wood, leatherette covered box,
with nickel trimmings and leather han-
dle.
Bailey films A sPeciai bulletin of
films for National De-
fense is announced for free distribution
by Bailey Film Service, 1651 Cosmo
Street, Hollywood, Calif. This source
also offers a new 16mm. color film of
Russia, which shows in concise style the
principal features of the U.S.S.R. today.
Kodak Safelight Supplied with a
wall bracket into
which its regular supporting base can be
quickly fitted, a new Kodak Adjustable
Safelight lamp is announced by the East-
man Kodak Company, Rochester, N. Y.
The new lamp has a gray finished, para-
bolic shaped shell with a lock rim
which holds a five and one half inch
safelight in place. Whether standing on
its base or hung from the wall bracket,
it can be swung almost in a complete
circle and will remain in any position.
The price, complete with safelight, is
$4.50.
Gutlohn color shorts Walter O.
Gutlohn,
Inc., 35 West 45th Street, New York
City, distributors of 16mm. films, has
recently announced the release of sev-
eral attractive short subjects in color.
These films are in 16mm. silent versions,
and they include Freighter Trip to the
Caribbean, Camera Sketch of Costa
Rica and Porto Rico, Haiti and Havana.
A complete catalog may be had from
this source.
Outstanding business film II is
said
that the dramatic feature, Once in
a Lifetime, recently produced in color
and sound by the Calvin Company, of
Kansas City, Mo., sets a new standard
for direct 16mm. production, both in
sound and picture. Designed to sell in-
surance, this forty five minute subject
has many of the special features which
are usually associated only with pro-
ductions made in 35mm.
^ta/dtmj\li
mjiMeaA^
with the ACL MOVIE BOOK to Guide You
A COPY of THE ACL MOVIE BOOK is mailed to every new member of the
League when he joins. This up fo date, handsome volume is sent in addition
to all the regular League services, the booklets and MOVIE MAKERS, monthly.
THE ACL MOVIE BOOK IS NOT OFFERED FOR SALE. IT
IS AVAILABLE ONLY TO LEAGUE MEMBERS.
IF YOU ARE NOT A LEAGUE MEMBER, JOIN NOW AND
GET THE ACL MOVIE BOOK. IT ALONE IS WORTH THE
PRICE OF MEMBERSHIP.
THE ACL MOVIE BOOK — 311 pages, over 100 illustrations — contains new information,
new ideas, precise and simple technical information about every phase of movie
making used by amateur filmers. Illustrations on exposure, focusing, use of exposure
meters, exact lighting diagrams, tricks, editing, projection, scenarios, and other sub-
jects, are included.
HERE ARE THE CHAPTERS
What Is A Movie?
What Makes A Movie?
A Movie's Chief Tools
Basic Camera Technique
Film Plans
Around the Yard Movies
We Need More Movie Tools
The Camera Steps Out
The Camera Sees The World
Filming Public Events
Making The Film Ready To Project
Projection
Filming Indoors
The Camera Deceives
Things Far And Near
Better Methods Of Expression
Movies In Color
Sound On Films
Special Purpose Films
Profits From Your Movies
The Movie Shopper
How The League Can Help
The new book is packed with information and it is simply written in an informal
style. You will find it fascinating, and you may be sure that the information is
correct— IT'S AN ACL PUBLICATION.
Membership in the Amateur Cinema League is only $5.00.
(See the advertisement on the inside front cover for details of
the League's services in addition to The ACL Movie Book.)
AMATEUR CINEMA LEAGUE, Inc.
Bound in stiff boards with an attractive
gray and red cover, THE ACL MOVIE
BOOK will make a handsome addition
to your library shelves. Attractive
typography, fine book paper, new ar-
rangements and many illustrations give
it a de luxe appearance.
420 Lexington Avenue
New York, N. Y.
a^
A
pe.
M
'to.
m
»■
>T+
&.
&
*4M
:: o«
ftegu/ar Kodachrome, for "Eights"
and "Sixteens," makes full-color
movies outdoors — or indoors when
blue Daylight Ph.otofl.oods supply the
illumination.
Type A Kodachrome, especially color
balanced for indoor Photoflood filming
— may be adapted for outdoor filming
at standard exposures by means of an
inexpensive "Daylight" filter.
Cine-Kodak Kodachrome Prices
8-mm. rolls, $3.65; 8-mm. maga-
zines, $4; 16-mm. 100-foot rolls, $8.55,
16-mm. magazines, $5.
All Prices Include Processing
ARVELOUS FULL C
», *%*.
CTp
it "*■ * & ^
IN CRISP BLACK AND WHITE
rNv'~
%4
7 «=#"•
<£
m
ys
S:-
<&,
.%.'«
Cine-Kodak Bight "Pan," for 8-mm.
daylight movies — $2.15 per roll.
Gni-Kodak tight Super- X, for out-
door or indoor 8-mm. movies — rolls,
$2.40; magazines, $2.70.
16-mm. Cine-Kodak Safety "Pan,"
for outdoor movies — 100-ft. rolls,
$4.80.
16-mm. tini-Kodak Super-X, for
outdoor or indoor movies — 100-ft.
rolls, $6.40, magazines, $3.75.
16-mm. Cine-Kodak Super-XX, for
poor-light movies indoors or out — 100-
ft. rolls, $7.20, magazines, $4.30.
All Price* Include Processing
Eastman Kodak Co., Rochester, N. Y.
OH
THESE FILMS "MAKE" THE MOVIE
Magazine off the Amateur Cinema League, Inc
• Jftuu to. Build a 7UU*
Best homemade titler of the year
presented with full construction
details.
• SNOWTIME SCENARIO
Snow fun, a winter comedy ready to
film with the family as the cast.
* CINE COMPOSITION
Drawings to guide you in selecting
camera viewpoints that will make
good scenes.
• Organize Your Club for War Time Filming!
Guide to efficient production setup
that simplifies club filming.
25c
• ACL VOLUNTEER REGISTRATION
Register now for possible service in
volunteer defense work with your
February . 1942
cine camera.
EVERY NEW MEMBER GETS*-*
The ACL Movie Book
i
T'S the latest book on amateur movie making! . . . It's the
biggest book about the subject written in the past decadel
311 PAGES— OVER 100 I LLUSTRATIONS— FRAME
ENLARGEMENTS— PHOTOGRAPHS— DRAWINGS!
INTERESTING — NEW IDEAS — SIMPLY WRIT-
TEN—ACCURATE—COMPLETE—FULL INDEX.
Written by the staff of the Amateur Cinema League — com-
piled from their experiences in serving thousands of movie
makers for over a decade, this book represents the latest
and simplest cine technigue. It is based on what amateurs
do. It tells you what you want to know because it comes
from the needs and guestions of over 21,000 League mem-
bers— every one a real movie maker.
The new book is packed with information and it
is simply written in an informal style. You will
find it fascinating, and you may be sure that the
information is correct — IT'S AN ACL PUBLICA-
TION.
GET THIS NEW BOOK IN ADDITION TO THE
SERVICES AND PUBLICATIONS LISTED BELOW
ALL FOR $5.00 A YEAR
* MOVIE MAKERS . . . Membership includes a sub-
scription to Movie Makers monthly, which covers
every phase of amateur and practical filming.
Each month there are articles for the beginner as
well as for the experienced movie maker.
■^ Technical consulting service. . . Any League mem-
ber can put his movie making problems up to the
technical consultant, and he will receive prompt,
detailed service.
-^ Continuity and film planning service . . . The con-
tinuity consultant will aid you in planning specific
films by offering you continuity and treatment
suggestions, ideas on editing and title wordings.
+ Club service . . . Those who wish to organize a
club — either for the production of films or for the
interchange of ideas between cameramen — will
obtain full aid.
■fa Film review service . . . You may send films to the
League for criticism and review.
jt Booklets and service sheets . . . These are available
to all members. Booklets are sent automatically,
as published, to members who request them. Book-
lets now current are:
Color filming — 27 pages, illustrated
Featuring the family — 34 pages
Lighting personal movies — 37 pages, illus-
trated
Films and filters — 31 pages, illustrated
Building a Dual Turntable — 30 pages, illus-
trated
■fa Equipment service . . . The League aids members
in locating new equipment.
fa Film Exchange ... A member may list his films
for temporary loan among other members and will
receive in return a list of films offered by other
members.
fa Special services ... in two important fields are
available. Through the Film Review Chart a mem-
ber can get particularly efficient criticism on his
reels. By means of the Film Treatment Chart, a
member may secure individually prepared film
plans and continuity outlines. These charts are
supplied on request to members only.
AMATEUR CINEMA LEAGUE, Inc.
420 Lexington Ave. Date
New York. N. Y., U. S. A. 1
I wish to become a member of AMATEUR CINEMA LEAGUE, Inc. My remittance for $5.00.
made payable to AMATEUR CINEMA LEAGUE, Inc., is enclosed in payment of dues. Of this amount,
I direct that $2 be applied to a year's subscription to MOVIE MAKERS. (To nonmembers, subscrip-
tion to MOVIE MAKERS is $3 in the United States and possessions; $3.50 in Canada, $3.50 in other
countries. )
I
MEMBERSHIP $5 a year
I
Name
|
Street
City State
Feb. '42 ■
GET THESE INDISPENSABLE
FILMING AIDS AT ONCE FOR
Five dollars a year
Amateur Cinema League, inc.
420 Lexington Ave. New York, New York, U. S. A.
MOVIE MAKERS
47
MOST (XI PPI HG ACTION EVER RECORDED >
THE THRILL OF A LIFETIME for every projector owner!
Actual pictures of unbelievably daring raids on Nazis'
Norwegian strongholds! Sea and air forces advancing to
attack! Flaming guns! Assault boats under fire! House
to house fighting! Demolition squads at work! Huge ex-
plosions! Nazi planes shot down! Surrender of garrisons!
Daringly filmed at close range! Every foot authentic!
The most startling picture you've ever seen! Own it now
for less than the cost of unexposed film.'
All Castle IE MM films are processed by VAP 0 RATE. All Castle 8 MM are also treated.
CASTLE
FILMS
Please send me "BRITAIN'S COMMAN-
DOS IN ACTION," in the size and edition
checked.
Name.
Address.
City
0 ■ *
RCA BLDG. HEW YORK.
0 ■ ■
FIELD BlDli CHICAGO.
Sfcrfe.
8 mm.
Headline $| "TC
50 Feet l./O
Complete $/• CP\
180 Feet O.DU
16 mm.
Headline $*j -j jr
100 Feet £../ D
Complete $Q 7C
360 Feet O./D
Sound $j^ i-f\
350 Feet 1/ .JV
RUSS BLDG. SAH FRAHCISCO 1 ,
.J
M
One hundred years ago
IN 1842, Edward Anthony founded
the company that is now Agfa
Ansco. We're proud of our hundred
years as an American institution, but
we're prouder of the letters that have
been coming in to us from photog-
raphers, both professional and ama-
teur, saying: "Congratulations! We
wish you success in your next hundred
years!"
* * *
Even in the early 1840's, Edward
Anthony was making daguerreotypes in
Washington . . , using the rooms of
The Committee On Military Affairs
for his sittings!
That early association with the U. S.
Government has continued down our
hundred years. Today, Agfa Ansco is
working harder than ever to supply the
U. S. Fighting Forces.
We are proud of our many contribu-
tions to photography during the past
century and we are confident of our
ability to create many more new ad-
vancements in the art during our next
hundred years. We hope to stay — as
we have always been — young in heart.
Agfa
Ansco
Binghamton, New York
FILMS
PAPERS
CAMERAS
CHEMICALS
MADE
IN U.S.A.
100 Years of American Photography
49
IVIOVIE MAKERS
The Magazine of the Amateur Cinema League, Inc.
Volume 17
February, 1942
Number 2
ACL volunteer registration 51
Free film reviews 52
Register now!, editorial 55
Fine frames 56
How a club plans war films James W. Moore, ACL 57
They learned by doing Godfrey Elliott 58
Snow fun Benjamin F. Farber, jr., ACL 59
Special projection aids Horace M. Guthman, ACL 60
A popular titler plan Kenneth F. Space, ACL 62
Practical films Gordon L. Hough 63
Twelve cine compositions Charles Cook 64
Amateur clubs James W. Moore, ACL 65
The clinic Kenneth F. Space, ACL 68
News of the industry Russell C. Hoi slag, ACL 70
Are cameras dangerous? 71
Films you'll want to show 72
Closeups 78
How Sacramento works 79
Scrapbook aids filming George Oliver Smith, ACL 84
Save your film spools! 86
**^W*
&>w
ARTHUR L. GALE,
Editor
RUSSELL C. HOLSLAG
Advertising Manager
JAMES W. MOORE
Continuity Editor
KENNETH F. SPACE
Technical Editor
ALEXANDER de CANEDO
Art Editor
is published monthly in New York, N. Y., by the Amateur Cinema League, Inc.
Subscription rate $3.00 a year postpaid (Canada and Foreign $3.50); to members of the
Amateur Cinema League, Inc., $2.00 a year, postpaid; single copies 25c (in U. S. A.). On
e?fcf sale at photographic dealers everywhere. Entered as second class matter, August 3, 1927,
at the Post Office at New York, N. Y. under act of March 3, 1879. Copyright, 1942, by the
Amateur Cinema League, Inc. Title registered at United States Patent Office. Successor to
Amateur Movie Makers, title registered at United States Patent Office. Editorial and
Publication Office: 420 Lexington Avenue, New York, N. Y., U. S. A. Telephone MOhawk
4-0270. Advertising rates on application. Forms close on 10th of preceding month.
CHANGES OF ADDRESS: A request for a change of address must reach us at least by
the twelfth of the month preceding the publication of the number of Movie Makers with
which it is to take effect. Duplicate copies cannot be sent when a number of the magazine
does not reach you because of failure to send in this advance notice. The Post Office will
not forward copies unless extra postage is provided by you.
I
o##& Smooth P&ifasunattce
GUoobe ^JUa PnedMon, Built
satisfactory
* h" Vou *>«
taVes movies » *C ^ many
* I ,.W proud- >T deluding
advan n licensed *<** WlB.
(oOPnLcorrecied_v. Qn
=P-gnoT control J^,
-ar'a"Cre' Compile ^ s0.
counter- ^ *•**»
^etlSak unses also avauaWe.
Other ^nses
REVERE "80"
PROJECTOR
gives you precision con-
struction at no extra cost.
It leads in features essential
to clear projection, depen-
dability, and complete
film protection.
• Silent, powerful heavy-
duty AC-DC motor.
• High-ratio duplex shuttle
film movement.
• Fully enclosed mechanism
for drive and power re-
wind.
• Radio interference, elim-
inator.
• Manual clutch for "stills."
• Large 15 tooth sprockets
with safety roller film
guides.
Complete with proven long-
life 500-watt lamp, fast
F 1.6 lens, and one 300-ft.
reel, $75.00.
REVERE "85"
PROJECTOR
Same as "80" plus Micro-
Tilt, Duo-Shield Light- Dif-
fuses Beam Threading Light
and Carrying Case,
$89.50
CAMERAandPROJECTOR
To have home movies that are absolutely steady,
brilliant, and sharp, you need precision construe
tion in both the camera and the projector.
The Revere 8 mm Camera, embodying many ad-
vanced features, takes perfect movies because
every step in its manufacture is checked with sci-
entific accuracy. Parts must fit with watch-like
precision. Tolerances of some parts are held to
.00025 of an inch. The Revere's automatic film-
loop sprocket contributes to steady movies by eli-
minating tugging on the film gate. The high-ratio
duplex shuttle film movement and rotary disc shut-
ter pull the film down in front of the lens and hold
it firmly for exposure of each frame. Speed of op-
eration is regulated by a positive governor control.
Each of the 5 speeds is set by stroboscope.
The Revere 8 mm Projector shows these more
carefully made movies at their brightest and best.
Because precision is scientifically checked, all parts
of the Revere Projector function smoothly and as-
sure flickerless movies, maximum screen brilliance,
and quiet operation.
Revere Cameras and Projectors are easy to load
and to use. They have simplified home movies still
further and have made this fine hobby more popu-
lar than ever. Ask your dealer to show you preci-
sion-built Revere equipment. Write for literature.
Revere Camera Company, Dept. 2MM, 320 East
21st Street, Chicago, Illinois.
Revere
REVERE "99" TURRET CAMERA
For those who want instant
interchangeability of lens
equipment, the Revere "99"
Camera is the answer. Its
rotating turret head holds
3 screw-type lenses. This
camera also has an extra
view finder for use with
telephoto lenses. Complete
with one Wollensak F 2.5
lens, $77.50
MOVIE MAKERS
51
ACL VOLUNTEER REGISTRATION
IF YOU are willing to aid our country's war effort by making or projecting 8mm. or 16mm. motion
pictures, you can further the war service of the Amateur Cinema League by answering this pre-
liminary questionnaire.
The answers to these questions will be helpful in presenting the capacities of the Amateur Cinema
League to agencies and organizations performing important wartime work.
This questionnaire has no connection, direct or implied, with governmental agencies. It is in no
sense mandatory, nor does answering it obligate the signer to any specific duty or guarantee to him
any service. If you answer this questionnaire, the donation of your time and services will still be
entirely voluntary. Such volunteer service will in no way exempt you from calls for your service
by official governmental agencies.
The answers to the questionnaire will simply constitute a survey of your willingness to lend your
movie skill to whatever projects and services the proper authorities consider most useful.
Movie makers who are not members of the Amateur Cinema League, as well as ACL members,
are invited to fill in this questionnaire. No commercial use will be made of the names and addresses
obtained in this way.
^T Filming Equipment
1. Make and model of camera
2. Camera speeds
3. Lens equipment
4. Tripod
5. Exposure meter
6. Lighting equipment
^ Projection Equipment
1. Make and model of projector
2. Silent or sound
3. Lamp power
4. Size of screen used
5. Double turntable equipment
^T Filming Experience
^ Personal Data
1. How many years have you been making movies? 1. How much time could you give
ive?
2. How many hundred feet do you film yearly?
3. In what types of subjects do you specialize?
4. What experiences have you had in making practical,
educational, scientific or business films?
5. What experience have you had in group productions
(e.g. club productions)?
2. Could you give it entirely on a voluntary and unpaid
basis?
3. What kind of services would you prefer to give?
4. A
rf
re you willing to serve in: Your community:
Your County? Your State?
In the L'nited States? Abroad?
5. Age?
6. Married or single?
7. Any physical handicaps?
Name
Street
City .
btate
MAIL TO
Amateur Cinema League, Inc.
420 Lexington Avenue New York, N. Y.
52
FEBRUARY 1942
FREE FILM REVIEWS
You can borrow these new publicity movies without charge
THESE films, the latest publicity pic-
tures produced, are offered on loan,
without charge. Some may be available
to individuals, and others are available
only to clubs or groups. In certain cases,
the type of organization to which the
films are lent without charge is speci-
fied. To borrow these films for a screen-
ing, write directly to the distributor,
whose address is given. (Note carefully
the restrictions mentioned in each case.)
LATEST RELEASES
In All the World, 1 reel, 1200 feet,
16mm. sound on film, color; produced
by Great Northern Railway.
Offered to: groups and individuals.
Available from: U. S. Travel Bu-
reau, 45 Broadway, New York, N. Y.
In All the World takes the audience
on a trip by motor coach through
Glacier National Park and the Cana-
dian Rockies. Both the scenic beauties
and the extensive recreational facilities
of this area are featured.
Educator's comment: Students will
enjoy the lovely color scenes and will
learn to appreciate the real beauties of
our great Northwest. — E.D.C.
Oil for Aladdin's Lamp, 3 reels, 1030
feet, 16mm. sound on film, black and
white; produced by the J. Walter
Thompson Company.
Offered to: groups and individuals
east of the Rockies.
Available from: Public Relations
Department. Shell Oil Company, Inc.,
50 West 50th Street, New York, N. Y.
In Oil for Aladdin s Lamp, the audi-
ence gets a glimpse into a little known
but increasingly important phase of the
oil industry — the creation of chemical
miracles from petroleum. In a trip
through Shell's "University of Petro-
leum," we see made before our eyes
such products as rubber, cellophane,
antiseptics, antifreeze, perfumes, vita-
min E and glycerin.
Educator's comment: This is an in-
teresting picture for chemistry students
or for general science students of
junior and senior high school age who
are studying petroleum. — E.D.C.
It Looks Like New, 850 feet. 16mm.
sound on film, color; produced by Film
Associates.
Offered to: groups only.
Available from: Quick Cleaners,
Inc., Dayton, Ohio, and Lexington, Ky.
This motion picture portrays the
many steps through which various arti-
cles of clothing pass in a modern dry
cleaning plant. Some of these are sort-
ting, weighing, cleaning, pressing, re-
pairing, inspecting and packaging. Also
shown are the processes in cleaning
rugs and in fashioning fur coats.
Going to College, 1200 feet, 16mm.
silent film, color; produced by Robert
D. Mullin and the University of Tulsa.
Offered to: groups.
Available from: Robert D. Mullin,
Filmcraft Studio, Tulsa, Okla.
Going to College is the story of a boy
and girl who visit the University of
Tulsa in the spring of their senior high
school year, to see what the college has
to offer. They meet two students of the
University who conduct them on a tour
of the campus. Not only do they see
the sights and meet some of the faculty,
but by means of flash backs the high
lights of the year's activities are illus-
trated.
The Iso Color Process, 400 feet, 16mm.
silent film, black and white and color;
produced by Hartley Productions.
Offered to: groups only.
Available from: Spectrum Prod-
ucts Company, Inc., 33 West 60th
Street, New York, N. Y.
This film depicts the procedure of
making a natural color print by the Iso
Color Process, from any kind of sep-
aration negative. These prints can be
made by an amateur in his darkroom,
with small investment. The extreme
simplicity of this method has made it
possible to show, for the first time in
the history of color photography, a
complete color printing procedure in
fifteen minutes.
The Champions Write, 15 minutes,
16mm. sound on film, color; produced
by Donald Manashaw.
Offered to: groups, especially
schools and colleges.
Available from: Gregg Publishing
Company, 270 Madison Avenue, New
York, N. Y.
This movie shows eight of the fastest
shorthand writers in the country and
the secrets behind their speed. The film
is designed to be screened before high
schools, colleges and business schools
throughout the country.
Army in Overalls, 1 reel, 400 feet,
16mm. sound on film, black and white;
produced by the Office for Emergency
Management.
Offered to: groups and individuals.
Available from: Y.M.C.A. Motion
Picture Bureau, 347 Madison Avenue,
New York, N. Y.; 19 South La Salle
Street, Chicago, 111.; 1700 Patterson
Avenue, Dallas, Texas; 351 Turk
Street, San Francisco, Calif.
Army in Overalls describes the work
of the C.C.C. in cutting timber, build-
ing roads and bridges, clearing fields
for use by the air force and learning
how to use small guns. The relationship
of this program to national defense is
stressed throughout the film, to give it
a topical aspect.
Educator's comment: This movie is
usable in high school modern history
classes, to show the work being done by
the C.C.C— E.D.C.
RECENT RELEASES
Exploring with X-rays, 4 reels, 16mm.
and 35mm. sound on film, black and
white; produced by General Electric
Company.
Offered to: groups only.
Available from: Visual Instruction
Section, General Electric Company,
Schenectady, N. Y.
The history of X-rays, from their
discovery by Roentgen down to their
manifold uses of today, is set forth in
forty minutes of real entertainment. A
good scientific explanation of the proc-
ess of X-raying is given by Dr. Coolidge,
a pioneer in the field.
Educator's comment: This is a very
good film for high school physics or
college science classes studying the
X-ray. It is usable also in biology or
health classes, to explain the use of
X-rays in modern medicine. Finally, as
a vocational guidance film, it might be
helpful to students interested in becom-
ing X-ray technicians. — E.D.C.
Cavalcade of Texas, 1800 feet, 16mm.
sound on film, color; produced by In-
terstate Circuit, Inc.
Offered to: groups only.
Available from: U. S. Travel Bu-
reau, 45 Broadway, New York, N. Y.
This travelog of the Lone Star State
shows the scenic wonders and indus-
trial cities of Texas. Dallas, Austin,
Galveston, El Paso and Ft. Worth pass
in review, as do the cotton fields, cattle
country, lumber districts, citrus areas,
cement, sulphur and petroleum indus-
tries and the many historical land-
marks. The ending shows some repre-
sentatives from Texas in Washington,
and some scenes of the capital are in-
serted.
Educator's comment: This is an
outstanding travel film for all age
groups studying Texas. — E.D.C.
MOVIE MAKERS
53
QTHRILLS!
QCHILLS!
"SNOW THRILLS" - ~
Skimming ice yachts! Swooping skiers! Dogsled racing
through a biting blizzard! Mile-a-minute bobsledding
with hazardous spills! A picture to treasure for a life-
time! Edit it with your own winter shots!
QSPILLS!
**^KI RFVFI V* An epic of skiing! The
Will lit ■ LLO ciimb to dizzy heights.
Flashing figures hurtling to the valleys with express
train speed! Dangerous ski jumps! !Breath-taking tum-
bles! Here's top form . . . superb skill ... a picture that
will leave you and your guests gasping!
All Castle 16 mm. films are processed by VAPO RATE. All Castle 8 mm. dims are also treated.
CASTLE
FILMS
* ■ ■ -
"ICE CARNIVAL"
Flashing skates! A
leap through fire!
A great pageant on ice, with famous figure skaters in
dazzling performances! Dancing on ice! A fiesta on ice!
Here's skill, grace, speed . . . comedy, a harmony of mo-
tion! Own this great picture now!
ON SALE AT ALL PHOTO DEALERS
LOW
COST
8 mm.
16 mm.
50ft....$1.75
i80ft 5.50
iooft $2.75
36o ft 8.75
SOUND . . . 350 ft. . . . U7.50
ggff
New 1942 Castle Films Home Movie Cata-
logue. Thrillingly Illustrated! Lists 100 ex-
citing Castle home movies. Send for it
today!
CASTLE FILMS RCA BLOG. FIELD BLDG. RUSS BLDG.
NEW YORK CHICAGO SAN FRANCISCO
C ADDRESS
) NEAREST
) OFFICE
Please send me Castle Films' new 1942 Free Catalogue.
Name-
Address—
City-
State-
-£ve^
oUr
ScO
\V»e
^e
se
.e4
^° Screed' ^
*° a\so ^S'
CLASS-BEADED
SCREEN
THE DA-LITE CHALLENGER
is the only screen that can be ad-
justed in height by merely releas-
ing a spring latch and raising the
extension support. It is the only
screen with square tubing in both
the center rod of the tripod and
the extension support. 12 sizes
from 30" x 40" to 70" x 94" inclu-
sive. From $12.50 up.
DA-LITE JUNIOR
can be hung from the wall or
set upon a table. It has the same
beaded fabric as is used in the
most expensive Da-Lite model.
4 sizes. From $2.00 up.
DA-LITE REPLACEMENT
SCREEN FABRICS
If your screen surface has be-
come soiled or damaged, ask
your dealer about Da-Lite re-
placement fabrics. For Da-Lite
screens there is no additional
charge for mounting.
Make your screen new again
with a Da-Lite Glass-Beaded Re-
placement Fabric. Available for
all standard sizes of screen sur-
faces.
T^VERYONE "9its up and takes notice" when you start showing
your home movies or color slides on a Da-Lite Glass-Beaded
Screen. Its specially processed surface sharpens details and
brings out, with full hrilliance, the true color and tone values
of your films. The heads are guaranteed not to shatter off. The
fahric stays pliahle and white. See Da-Lite Screens at your dealer's
today! Ask for a demonstration! Compare picture quality and
convenience! You, too, will prefer a genuine Da-Lite — the screen
leading projector manufacturers and other critical buyers use and
recommend. Write for literature, Dept. 2MM, Da-Lite Screen
Company, Inc., 2711 North Crawford Ave., Chicago, HI.
DA-LITE MODEL "B"
HANGING SCREEN
In this map type screen, the
Da-Lite Glass-Beaded fabric
is spring-roller-monnted in a
metal case to protect it from
dust. Ideal for game or pro-
jection room. Thirteen sizes,
including square sizes from
22" x 30" up to 84" x 84".
From $6.50 up.
^Prices slightly higher on Pacific Coast.
WAett
cm
R EC U.S.PAT. OFF.
55
REGISTER NOW!
ELSEWHERE in this number of Movie Makers
will be found an Amateur Cinema League regis-
tration form for personal filmers who wish to list
themselves for possible war service as movie makers
and movie showers.
Just as the United States government will register
a large number of American males in the month of
February for war service, so it seems reasonable for
the Amateur Cinema League to take a voluntary cen-
sus of filmers. This census is in no way mandatory
or official, nor has it any connection, direct or implied,
with any governmental agency. It is entirely the act
of the Amateur Cinema League, designed to enable
the League to meet more intelligently the requests
that may come to it from a number of sources, all
of which will be requests for war service of one kind
or another.
Voluntary registration with the Amateur Cinema
League by personal filmers cannot, of course, obli-
gate them to any specific performance or guarantee
service to them, nor can it, in any manner, be per-
mitted to get in the way of whatever summons may
come from the United States. It is only an informal
census, but a reasonable census that may enable
patriotic movie makers to be of practical and definite
service later.
All filmers are invited to register with the Amateur
Cinema League. There is no intention to limit the
registration to League members nor to make mem-
bership in the League prerequisite to any service that
the League may be able to bring to the attention of
movie makers. This registration is an effort to estab-
lish a roster of those men and women who have sub-
standard cinematographic skills of various kinds and
who want to make those skills available in the war
effort if they should be needed.
The names of persons who register will not be
given to any but proper agencies that are well recog-
nized nationally as either governmental units, national,
regional or local, or as semi public institutions that
have a proper status in the war effort of our country.
No commercial use whatever will be made of the
names of any registrants.
There are many men and women who would be
glad to serve the nation as movie makers if their ser-
vice is not preempted by other agencies with prior
rights. Filling out the registration blank on page 5 1
of this number of Movie Makers does nothing more
than to state the willingness to serve, if that service
is needed, and to indicate the ways in which that
service could be offered.
The Amateur Cinema League confidently expects
a large registration of patriotic filmers.
The AMATEUR CINEMA LEAGUE, Inc.
whose voice is Movie Makers, is the international or-
ganization of movie amateurs, founded in 1926 and
now serving filmers in many countries. The League's
consulting services advise amateurs on plan and execu-
tion of their films, both as to cinematographic tech-
nique and continuity. It serves amateur motion picture
clubs in organization, conduct and program and pro-
vides for them a film exchange. It issues booklets. It
maintains various special services for members. The
League completely owns and operates Movie Makers.
The directors listed below are a sufficient warrant of
the high type of our association. Your membership
is invited. Five dollars a year.
Hiram Percy Maxim, Founder
DIRECTORS OF THE LEAGUE
£*£^1
STEPHEN F. VOORHEES, President
JOHN V. HANSEN, Vice President
ETHELBERT WARFIELD, Treasurer
C. R. DOOLEY
MRS. L. S. GALVIN
H. EARL HOOVER .
HAROLD E. B. SPEIGHT
FLOYD L. VANDERPOEL
T. A. WILLARD .
ROY W. WINTON, Managing Director
. New York City
Washington, D. C.
New York City
New York City
Lima, Ohio
Chicago, 111.
Ithaca, N. Y.
Litchfield, Conn.
Beverly Hills, Calif.
. New York City
Address all inquiries to
AMATEUR CINEMA LEAGUE, INC.
420 LEXINGTON AVE., NEW YORK CITY. U.S.A.
Amateur Cinema League offices are open from
9:00 A.M. to 5:00 P.M., Mondays through Fridays
56
Signs of the vernal
season supply the film
material in Spring,
produced by Georgia
First, ACL, of Rock
Island, 111. This is a
subject that is al-
ways new and always
interesting,
Dr. Lucius W. Case,
ACL, of Pomona,
Calif., included this
magnificent shot in
his picture, Flowers,
a topic among many
others that has no
possible wartime re-
striction.
The lowly robin is
the theme of Mr. and
Mrs. Robin, filmed by
T. J. Courtney, in
wartime Halifax,
Nova Scotia. You
need not look for the
rare species of sub-
ject matter to make
a good film.
In Little and Lively,
Lawrence Kakatsch,
of Milwaukee, Wise,
tells of the dream-
land adventures of a
very small boy who
falls asleep over a
picture book.
Will wartime filming restrictions
greatly hamper the typical movie
maker's choice of subject matter?
Not much, if these frames, selected
from recent amateur movies, are
any guide. There is scarcely a shot
on this page that would be tabu
under the most stringent war regu-
lations.
%
me
ty>iam&L
Well lighted portrait
shots introduce the
characters in One
Quiet Evening, a pho-
toplay by C. J. Hewitt,
ACL, of Portsmouth,
Va.
Fall foliage and New
England architecture
are combined in Na-
ture Paints the Scen-
ery, by Lester Shaal,
ACL, of Edgewood,
R. I.
The movie maker
turns the camera on
himself in Making the
Grade, a cine novelty
by George Mesaros,
ACL, of New York
City.
Mrs. E-rma Nieder-
meyer, ACL, of Mil-
waukee, Wise, caught
the hunter at early
dawn, in this excel-
lent frame from
Ducks vs. Hunters.
57
HOW A CLUB PLANS WAR FILMS
WHILE amateur movie clubs across the country are
eagerly awaiting word from a busy Administration
as to how they may aid the war effort, there is one essen-
tial job that we can all do now — Get Organized!
The group production of civilian defense and first aid
auxiliary films is the most important opportunity that we
personal movie makers have had since the hobby began.
It is one which should not be bungled by unpreparedness,
inefficiency or internal squabbles. If we are going to do
a good job, we must be ready and organized to do it,
with a clear cut idea on the part of each member of the
club as to what his job will be. To aid in that important
undertaking, the staff of Movie Makers has called on
experienced club leaders for their advice. We have
checked and balanced their reports, aligned them with
our own experience of more than fifteen years in the
craft and have built up from these data an idealized
structural guide for group film production. It is pre-
sented herewith in outline form and, below, in a chart.
To begin with, it should be understood that all tasks
in a filming effort of this kind are important to its suc-
cess. If the assistant personnel clerk slips up on an assign-
ment, the result can be just as serious a stumbling block
in the film's progress as if the first cameraman missed
an exposure or the director a proper sequence of his
action. We cannot all wield the megaphone or get behind
a camera. What counts in this type of film work is the
high quality of the results, and such quality is not arrived
at by assigning twelve different sequences to twelve differ-
ent cameramen — and then wondering sadly why the
dozen varied "takes" don't match. This is no picnic, but
a serious production project.
The Supervisor
The first job, and the toughest, is one of responsibility.
The club should choose from its ranks that member best
qualified by experience to guide the progress of the
entire production. He need not be your best movie maker
or even a very good one. But he should be a capable
executive and one skilled in winning the cooperation of
all the varied elements he must control.
It should be the primary task of the supervisor to serve
as liaison officer between the club and the client, which
might be an organization, a committee or an official. It
should be his ultimate responsibility to make sure that
the needs of the club and the wishes of the client are
clearly understood, one by the other. To him, the pro-
Ouflme for organization
of volunteer film group
JAMES W. MOORE, ACL
duction supervisor — who works only with the club mem-
bers— shall report their plans for production, both gen-
eral and specific. It is the duty of the supervisor in turn
to lay these plans before an appointed representative of
the client, for approval, disapproval or suggested modi-
fication. When any given plan has been approved by the
client, it is the responsibility of the supervisor to make
sure that the client clearly understands the obligations
undertaken therein as to personnel, properties and phys-
ical settings under the client's control and that these shall
be available at the time and place specified. All in all,
it is a tough, exacting job, requiring the tact of a diplo-
mat, the energy of a dynamo and the patience of a Job.
The Production Supervisor
With the supervisor engaged in assuring that all matters
run smoothly between club and client, the production
supervisor is left free for the full time job of correlating
all efforts within the club. Largely, these responsibilities
will be worked out in periodic production conferences
preceding each different period of shooting, wherein the
details of the work ahead will be discussed and the vari-
ous requirements for carrying out this work made clear.
Such conferences will be attended by the supervisor,
production supervisor, director, first cameraman, per-
sonnel clerk and property man, so that the duties of each
may be understood accurately. At such time, cameraman
and director will outline the action entailed in the com-
ing sequence, the personnel involved (both in and out of
the club), the settings, costumes and properties required.
Arrangements for any of these which involve the coopera-
tion of the client (such as the use of a fire engine, two
policemen and a radio patrol car) are the responsibility
of the supervisor or liaison chief, assisted by such de-
partment heads as properties and personnel. Arrange-
ments for all other needs shall rest in the hands of the
production supervisor, who will call in the staff involved
and outline the requirements of [Continued on page 73]
SUPERVISOR
T
Production Supervisor
Publicity
~1
Stills
Transport
Director
Properties and Locations First Cameraman
T T T
Ass't Properties Ass't Camera Lighting
Personnel Clerk
T
Ass't Personnel Cleric
58
IN FEBRUARY, 1940, an eager group of high school
1 seniors at Oakvale, W. Va., set out to "make a movie."
Hopes were high, few thought of it as more than a final
adventure that would climax an interesting high school
career, and everybody looked forward to at least two
weeks of pleasant fun with a little work thrown in.
Three months later, a tired and much soberer group of
students, with a sigh of satisfaction that came right up
from their shoe soles, sat down to the first preview of
their completed production. Those three months hold a
story of deflated optimism, rising hopes, tragic delays,
amusing interludes and downright hard work. Said a stu-
dent spokesman for the group, "It's fun to be making our
own movies. But, gosh! It takes work, too!"
Now, film production at Oakvale was no new thing.
Almost all these students, at one time or another during
their high school life, had worked behind or in front of
the camera. In fact, they had seen so much of it that they
approached the production ahead of them with consider-
able casualness and not
a little sophistication.
Previous productions
in the school had al-
ways been turned over
to some instructor in
whose hands the thing
just seemed to grow up
This high school found
film skills through work
GODFREY ELLIOTT
without any great amount of effort. This was going to be
a "cinch." However, two months later, they were stewing
over the approach of an inexorable dead line. But, wait —
the story gets ahead of itself.
This is really the tale of how a group of teen age young-
sters attempted to solve a local safety problem through
the serious production of a motion picture that could be
used to show correct safety habits. The school had been
invited to participate in the safety film project that was
being sponsored by Ohio State University's Bureau of
Educational Research and the Highway Education Board.
Each of ten schools was to produce a short film, dealing
with some phase of local traffic safety.
The school authorities at Oakvale decided to turn the
local project over to some school group already organ-
ized and functioning, in order that the film production
could be made an educational activity. With this view in
mind, the project was offered to the senior class. This
group of twenty one youngsters accepted with alacrity.
Two of their instructors (in English and in science) con-
sented to develop the production activities as a part of
the day to day work in their classes. All work on the
project was to be integrated [Continued on page 76]
59
o)*
HOML
HERE is a scenario to help you to record the fun
around your house in snowtime. But don't feel tied
down to these specific scenes, for the exact choice of shots
does not matter in a winter family film. Perhaps other
equally absurd actions take place in your neighborhood.
Fit the scenario to the fun, whatever it may be. Simply
bear in mind the basic continuity, which shows mis-
chievous winter sport, and then consider the price that
children may pay for it in cleaning up. Finally, think
of the manner in which — all too often — the tables are
turned around again.
On the other hand, perhaps you would rather not spend
so much film on the intricacies of a story. Perhaps you
would like to show, in 200 feet or so, all the various out-
door interests of the family. Then you can organize the
picture in a loose sort of way, by putting together in the
first sequence all the symbols of winter — the "arty" shots,
if you will — branches covered writh icicles, frozen milk
bottle tops, sprays of snow from rotary plows, winter
store windows and so forth.
For another sequence, you might picture the worries
that arrive with the first storm. Make the subjects large
and general or small and domestic. Shoot gangs of
shovelers, or your own boy cleaning the sidewalk: take
lines of cars on a slippery highway, or your own
troubles with chains: pick up crowds easing their way
along slick sidewalks, or (filming from outside the
house) your wife trying to open a window stuck fast by
the ice.
Naturally, your next section wTill deal with the fun of
wintertime. Nobody needs to tell you of the excitement
in a child's face just before he takes off on his sled from
the ridge of a hill. You can anticipate your audience's
reaction to a closeup of a boy who is just recovering
from a tumble into a snowdrift. These shots will give
your "fun" sequence a real "punch."
But, in case you want a tailored scenario, here is one
ready to film.
1. Main title. SNOW FUN. (Spell out the letters in
clean white snow, by spilling water through a funnel that
is held above the camera and out of the lens field. After
filming the title long enough for reading time, wash it
off completely, by pouring water on it from a pail, again
held above camera range.)
2. Credit titles. Filmed by — . (This and other
Harold M. Lambert from Frederic Lewis
Dad's pipe is appropriated to embellish the snowman
A cine tale of the family
as it enjoys wintertime
BENJAMIN F. FARBER, jr., ACL
titles, if necessary, should be filmed in a similar manner.
Following the last "wash off," tilt the camera upward, to
reveal the next scene.)
3. Medium shot. Hank, a boy between ten and six-
teen, empties a pail of water on the broad cement drive-
way outside a home garage. (If this location is hard to
get, simply use the street in front of your house.) He
looks at the cleared wet place and then up at the sky.
Title. "H'mm, guess that oughta freeze pretty fast. Bet-
ter get my skates ready."
4. Closeup. Hank gazes at the sky briefly as he pon-
ders the weather conditions.
5. Closeup. Nancy, aged five to ten, gazes upward.
6. Medium shot. Nancy and several children who are
at work on a huge snowman. Nancy joins the other chil-
dren. (Here you can include other closeups of children
who are happily packing and shaping the snow into arms,
shoulders and head.)
7. Semi closeup. Dorothy, aged eight to thirteen, looks
up at the snowman's head and thinks very hard, one mit-
tened finger in her mouth. Suddenly she gets a bright
idea and races off for the house. Follow her with a "pan."
8. Closeup. From outside, Dorothy opens the door of
the house and enters, leaving large footprints of snow on
the carpet, seen through the open door. Hold this scene
for a second.
9. Closeup. Dorothy's hand empties a box of buttons
on a table. She selects two very large buttons, and the
hand disappears, leaving the [Continued on page 75]
60
SPECIAL PROJECTION AIDS
Devices that will help you in presenting a movie show
4/36 brass nut
'/."
3/16"
WHEN you have worked out a carefully scored sound
on disc accompaniment for one of your films, you
will want to run your projector at a speed of exactly
sixteen frames a second. If the picture speeds up or lags,
your sound effects will be awkward, and the musical
changes may occur at the wrong times. Variation in pro-
jector speed is especially troublesome if you have made
recorded discs or if you have "faked" lip synchronism.
Since sound on disc and phonograph record accom-
paniment are the only means by which music or sound
effects can be presented with 8mm., it seems to me that
it is especially important to be able to know when your
8mm. projector is running at exactly
sixteen frames a second — no more,
no less.
I have worked out a speed indica-
tor for my Keystone R 8 projector —
a device that could be used on most
types and makes of 8mm. projectors,
with a few changes that the particu-
lar design of a given machine will readily suggest.
After considerable investigation, I discovered that a
stroboscope furnished the most accurate method of speed
indication and that it was simplest to build. There is only
one moving part on the Keystone 8 projector which can
motivate a stroboscope. It is the large driving pulley on
the motor side of the projector, which transmits motion
to the entire mechanism.
The first step is to design the stroboscope, a disc com-
posed of alternate black and white segments. Cut the disc
from white cardboard and, on it, draw a number of
equally spaced lines, radiating from the center
of the disc to its periphery. The following equa-
tion gives you the number of lines required.
tt:
Fig. I
Fig. 2
v°"
,\Ae«
,\ear u A o°
k \o c \Ae<e
Slotted screw hole c^\ 0* v 4°
#•>"
alV*
*A?
4"x3/4'x 3/32"
d> — Slotted screw hole
HORACE M. GUTHMAN, ACL
t x f
N
r.p.m.
N — number of lines
t — times in seconds
f — frequency of current
r.p.m. — speed of the pulley
The pulley on a Keystone projector makes one revolu-
tion for each frame, and, therefore, it has a speed of
sixteen r.p.s. or 960 r.p.m. If the current is sixty cycles,
as are most alternating current systems in this country,
the equation will be as follows:
N =
60 x 60
960
= 3.75 lines or segments
As we cannot work with a part of a segment, we must
use a convenient prime number. The number "15," which
is four times 3.75, is the best choice. At this stage, by the
use of a protractor, we shall divide our disc into fifteen
black and fifteen white segments of twelve degrees each.
This procedure must be done accurately, for, otherwise,
the stroboscope will not work properly.
Since the projector pulley revolves at 960 r.p.m. and
since we have chosen fifteen segments or lines, it is then
necessary to use a four to one step up gear (3.75 x 4),
to bring the stroboscope into the proper speed for the
number of segments that we are using.
The first construction step is to remove the small nut
that fastens the large pulley upon the shaft and to place
on the shaft the small twenty tooth gear, fastening it with
the small nut shown in Fig. 1.
The mounting for the large eighty tooth gear is shown
in Fig. 2.
8/32 thread
M j l ifr< 8/32 nut and lock nut
' ' ! '^ Tpns.nn washer
llllllllllllllli'llllllllllliniv- Large 80 tooth gear with
Tension washer ^.rrrn stroboscope attached
8/32 nut and lock nut'
• Above, the projector with stroboscope
and mirror in place. This picture, from
control side of projector, shows strobo-
scope in mirror. Right, detail of gear
and stroboscope.
61
Brass machine screw '/2J'x8 32 R.H
Bottom covered with felt
Fig. 3
The two small machine screws that hold the side plate
to the projector are removed, and the mounting is then
fastened in its place with the two 3$" x 4, 36 machine
screws. The slotted screw holes shown allow the proper
adjustment that will not bind or slow the projector
mechanism. The stroboscope disc is exactly centered on
the large gear, and it is cemented to it.
Since the stroboscope is not on the side of the projec-
tor on which the controls are located, the operator cannot
readily see it when he is running the projector. This
problem is solved by the
construction of a device to
hold a mirror, illustrated in
Fig. 3. This support also
holds the neon lamp. Con-
struction details are shown
in Fig. 3.
The height and angle of
the metallic mirror may be
adjusted so that the operator
can see it most conveniently.
This adjustment is accom-
plished by drilling and tap-
ping the upright support
every inch and bv usins a
• Projector carrying case, at left,
closed and, below, open to show
how projector and accessories are
packed.
I T \
Fig. 5
f
k
r^
long machine screw in the lower position. The bottom of
the base is covered with felt, to prevent its scratching the
table.
In operation, one views the stroboscope as it is illumi-
nated by the light of the neon lamp. When the projector
is running at sixteen frames a second, the black segments
on the disc will appear to be motionless. It is easy to
increase or to decrease the speed of the projector until
the point is reached at which the segments appear to be
motionless.
The stroboscope will operate only on alternating cur-
rent, because the illusion of the motionless segments is
created by the fact that the neon lamp is actually dark a
number of times a second, sixty times a second in the
case of sixty cycle alternating current.
Here is a list of materials that are required to build a
stroboscope for a Keystone 8.
1 G-101 gear 20 teeth %" dia.
1 G-lll gear 30 teeth 2%" dia.
1 y± watt neon bulb
1 candelabra key socket
1 V$ nipple and lock nut
6 ft. lamp cord and plug
1 piece sheet iron 10"x4"xl/16"
1 strip iron 10"xi/2"xl/16"
1 strip iron 6"xy2"xl/16"
Fig. 6
-s^v=s
1 strip iron 4"x%"x3/32"
6 nuts 8/32 thread (brass)
1 brass rod 17S" long Vs" dia. 8 32 thread— both ends
2 brass tension washers
2 4/36 machine screws — %" long
1 4/36 brass nut as per cut Y±"
Projector carrying case
When one gives a show for an institution or in the
home of a friend, he must carry projector, films and
screen and, if he uses music, he must also carry turn-
tables, amplifier, speaker and records. In carrying all this
equipment, I have found it easiest to use the smallest
number of cases possible.
The projector carrying case shown in Figs. 4 and 5
contains space for almost everything that is necessary for
a silent show. The cover has sufficient room for three 400
foot and six 200 foot reels of 8mm. film, and space is
provided for a bottle of oil and a cleaning brush.
The projector lamp, neon bulb and mirror platform
and an extension cord are packed around the projector.
The projector is securely fastened in place by a pair of
straps. The case measures ten by thirteen by sixteen and
a half inches, and it is built of three quarter inch stock
for the top and bottom, while the four sides are of three
eighths inch plvwood. The parts are glued and screwed
together. The cover has a projecting lip of one quarter
inch, to help keep out dust.
The cover is hinged and is fastened by a trunk type
hasp, and the handle is an iron type that is securely
bolted through the top. The case was built as a solid box.
and the cover was sawed off after completion.
Every part was thoroughly [Continued on page 77]
62
A POPULAR TITLER PLAN
Specifications that have evoked wide interest
KENNETH F. SPACE, ACL
THE item in The clinic department in Movie Makers
that has aroused the most interest in the past year is
the homemade titler, designed by A. R. Bowen, ACL,
which appeared in the September, 1941, number.
We are still getting requests for additional assistance
in building Mr. Bowen's titler, so that we are here pre-
senting its construction diagrams again. While the basic
design is the same as that originally given, we have
omitted some of the features of limited use that were
originally included by Mr. Bowen, to meet his particular
needs, and we have included additional features that we
believe would make the titler more flexible and efficient
for most movie makers.
The titler which has resulted from this collaboration
will accommodate either a title card in an easel frame or
a piece of glass that can be used when titles with an action
background are desired. After you have set up this titler,
you may fix the camera support rigidly in position, so
that the titler will always be ready for use in making
titles with a card of a given size, or you may unlock the
camera support so that the camera can be moved forward
or backward, to accommodate title cards of various sizes.
REMOVABLE
AUXILIARY
LENS
Fig. 2. Camera and auxiliary lens supports
Finally, if your camera has a focusing lens, you can use
this titler without a supplementary lens; on the other
hand, it has provision for a supplementary lens that may
be added if you want to make titles with a camera having
a fixed focus lens, or if you want to work at a closer
range than that permitted by your focusing lens. The
optional auxiliary lens support, which is removable, pro-
vides this feature.
The titler dimensions given in the construction diagram
(Fig. 1) on this page are planned to suit all average
needs: but, should you have a special function in mind,
you can alter them to suit your convenience. In making
the titler, be sure to use well seasoned wood that will not
warp.
The camera support slides freely in the groove, but it
may quickly be locked into place by means of the bolt
through the base. The bolt slides into the slot that is cut
in the base of the titler.
'X
MOULPINC,
Fig. I. Diagram and dimensions of popular titler
The supplementary lens can be slipped into the holder,
as shown in Fig. 2. The support of the lens is made of
tin or other metal, which is fastened to the wood block
that is cut to fit the groove for the camera support. In
placing the supplementary lens support in the titler, you
first remove the camera support and then slide the lens
holder into the track and replace the camera support.
In operation, the supplementary lens should be directly
in front of the camera lens and as close to it as the block
will allow.
Since the camera may be moved forward on the track
for closer positions, the support for the lights is also de-
signed to slide back and forth, so that the lights may be
put at a convenient distance from the camera. While the
lights shown here are clamp on reflectors, a permanent
installation may easily be constructed. It would be well
to note, however, that the design of the lights should be
such that the lamps can be rotated on their bases, so that
their light may be directed fully upon the easel, no matter
how. close to the easel the block supporting the lamps may
be advanced. If you desire, you can make it possible to
lock the lights in position, by adding a bolt to the sup-
port for the lamps, in the same manner as in the case of
the camera support.
Many of the inquiries regarding the original presen-
tation of the titler in The clinic [Continued on page 80]
I I
A p.
i ^
c;
%-r
X;
*
•i/ /
I3T
1
Fig. 3. How to find height of camera support
63
PRACTICAL FILMS
GORDON L. HOUGH
New Machine Shop Films
Designed and issued by Film Productions Company, of Minneapolis,
is the Machine Shop Practice Series, a set of twelve 16mm. sound films in
black and white, covering eight common processes in machine shops. This
program has two general aims — first, to provide the operator with a sound
knowledge of the fundamentals of machine shop work and, second, to
teach a man how to apply this knowledge toward the solution of individual
problems. An abundance of closeups, together with photomicrographs and
animation, helps to make clear each operation. Titles in the series are:
Metal Cutting Principles, Precision Layout and Measuring, Jigs and Fix-
tures, Dies and Die Making, Lathe Operation, Planer and Shaper Opera-
tion, Milling Machine Operation and Grinding.
Prints are now in use in such defense and industrial training centers
as General Motors Corporation, Henry Ford Trade School, Chrysler Cor-
poration, Westinghouse Electric Company, Western Electric Company and
International Nickel Company. Roy A. Clapp, president of Film Produc-
tions, directed the series, Ralph Perry was the cameraman and Allen
Briggs was the sound man.
History of Ohio
Chester G. Heffner, ACL, of Mansfield, Ohio, recently produced a film,
called Beautiful Ohio in Its Making, as an aid in teaching the geography and
history of that State. Running 1600 feet of 8mm. Kodachrome, the movie
had its origin in a 400 foot monochrome production, made in 1935. See-
ing the possibilities in a film of this sort, Mr. Heffner did a great deal of
research and traveled more than 15,000 miles to complete the present
version. The first reel takes up Ohio from its beginning to the Northwest
Ordinance of 1787; the second covers the period up to Ohio's admission
as a State in 1803: reel three tells of the Civil War; and the last section
brings it up to date. In addition to showing the film in schools, as an
adjunct to the history books, Mr. Heffner plans to exhibit it to local clubs
and civic organizations.
Audio Visual Conference
Atlanta, Ga., played host November 13 to 15 to the fifth annual Southern
Conference on Audio Visual Education, under the chairmanship of
J. C. Wardlaw. Five sessions of the three day period were devoted to show-
ings of new educational films and to speeches, while one session was given
over to eight specialized group forums. In addition, various types of audio
visual equipment and publications in this field were on display for the
delegates.
General Extension of U. of N. H.
Continuing with the expansion begun two years ago, the General
Extension Service of the University of New Hampshire is renovating one
of the older buildings on the campus, to provide space for the college's
photo visual service. The new quarters will include a motion picture
library, twelve darkrooms, a lecture room and a combined studio and
projection room.
Beaver Life Filmed
Earl L. Hilfiker, a teacher of Monticello, N. Y., has made a 1600 foot
color and black and white movie of wild life around a beaver pond. Titled
Life at the Beaver Pond, the film covers the four seasons and contains
excellent closeups of plants and animals that are [Continued on page 82]
Film Productions Company
• Production "stills" and animation scenes fror
"Machine Shop Practice Series," set of twelve 16mm
sound films.
The non theatrical movie as
used for various purposes
Cj 'uigluje cme cmiM)x^Utkm6,
CHARLES COOK
"T"
i
I
i
4-
I
• If you divide the camera field in half,
you will produce two rectangles which
divide the interest of the observer.
Never permit the horizon line to bisect
the picture; tilt your camera slightly
upward or downward.
• A rule of thumb, helpful in shooting
scenic views, is "the division of thirds."
Briefly put, if you establish the center
of interest at one of the intersections
of the imaginary lines, you are likely
to get good compositions.
• The triangular arrangement of
masses or lines in a scene always pro-
duces good composition. Often, a side
view of the principal subject will give
you a triangular arrangement, while a
head on view would not.
• When it is practical, select fore-
grounds or backgrounds that match the
form of the central subject. Here, the
girl's head and hair make a vertical
rectangular form, as do the curtains
behind her.
• If you desire to show speed, center
your moving subject within the finder
and follow it. The blur of the back-
ground helps to create the illusion of
rapid motion and emphasizes the im-
portance of the subject.
• If the principal lines in a scene
seem to run out of the frame, look
around for a slightly different view-
point which will include an object that
will hold the eye — in this case, the tree.
The tree makes this scene interesting.
*^J JiJL
• When it is practical, counteract the
main motion (in this case, the train)
with an opposite movement (in this
case, the automobile). This procedure
gives the scene a feeling of balance and
an illusion of a third dimension.
• If you can include a number of plain
surfaces at different distances from
the camera, you can increase the illu-
sion of depth in the scene. This effect
can be gained in interior scenes with
the help of screens and doorways.
• If the setting dwarfs the characters
in the scene, they may move freely
without disturbing the principal com-
position. For that reason, it is easier
to get good action compositions out-
doors than in the case of interiors.
64
• No matter how charming a distant
view may be, it requires a foreground,
to appear its best on the screen. In this
scene, the people and the rocks in the
foreground provide a pleasant compo-
sition in themselves.
• Strong, massive vertical forms cre-
ate a mood of dignity and awesome-
ness. This is a principle that the movie
maker can employ only when the sub-
ject makes it possible. Monuments and
buildings provide such forms.
• Circular forms, such as those pro-
vided by balloons, hoops, chubby peo-
ple and the like, usually help to express
gaiety and cheerfulness. In a circus
shot, include balloons in the fore-
ground.
65
AMATEUR
CLUBS
What organized groups
are doing everywhere
A. K. Bowen. ACL
• Top, oldtime photography skit at annual salon of Bell Movie and Camera
Club of Denver. Below, members and guests at the party.
Hartford sees Maxim Award Following the pleasant
tradition that was es-
tablished in 1937, the first year of the Hiram Percy Maxim
Memorial Award, Hail, British Columbia!, award winner in
1941, had its first public screening before members and
guests of the Hartford Cinema Club, in Connecticut, at their
late December meeting. Leo J. Heffernan, ACL, the pro-
ducer, and Mrs. Heffernan were guests of the club at dinner,
preceding the screening at the Hartford Country Club.
Rounding out the program were A Christmas Fantasy and
Ether Bound Spirit, short dramatic films in Kodachrome by
Mr. Heffernan. The Hartford Cinema Club was founded by
Mr. Maxim in 1926 coincidentally with the Amateur Cinema
League, and it now lists as a member Percy Maxim Lee,
ACL. daughter of the Founder and donor of the Maxim
Award.
AllentOWn awards More than 200 members and
guests gathered recently in the
local Y.M.C.A. for the Third Annual Guest Night of the
Allentown Y.M.C.A. Cinema Club, ACL, in Pennsylvania.
Featured on the program was a screening of the club's an-
• Arthur W. Heydt, of the Allentown Y.M.C.A. Cinema Club,
ACL, receives the Charles C. Vogt Trophy for his 8mm. film,
"A Christmas Eve Dream."
Lloyd Werley
JAMES W. MOORE, ACL
nual contest winning films, with the Charles C. Vogt Trophy
for the best film in both classes going to Arthur W. Heydt
for his 8mm. production, A Christmas Eve Dream. Other
award winning films were Amateur Professional, by Tilgh-
man Weil; Two Years Old, by Paul Keck; Moods of Nature,
by Louis Buehler, jr.; Week End Tour, by Nelson Meitzler;
May Day, by 0. C. Dorney. Charles Gerhart was chairman of
a seven man board of judges, and he announced the award
winning films.
At Schenectady Through the cooperation of Harry M.
Jacobs and J. S. Smith, members of
the Movie Group of the Schenectady (N. Y.) Photographic
Society, ACL, and C. C. Bailey, of the General Electric Com-
pany, this unit had an early screening of Railroadin, the
elaborate sound on film color picture recently released by
G. E. and the American Locomotive Company. Adkins
Lowell, also of General Electric, presided at the meeting
and introduced to the club members John J. Boland, director
of the picture for Adverti Films. For Safety's Sake, the club's
production for the Schenectady Police Department, is near-
ing completion under the leadership of Cecil M. Figueroa,
ACL, and E. H. MacMullen, ACL.
New in Springfield Fifteen members signed the char-
ter roll of the Pioneer Valley
Cinema Club, ACL. recently organized in Springfield, Mass.
First officers are Walter J. Aring, ACL, president; C. J. Grant,
vicepresident; Walter L. Stannard, secretary and treasurer.
Morton H. Read. ACL, producer of Holiday in Dixie and
Where the Americas Meet, Ten Best and Honorable Men-
tion award winners, respectively, screened some of his work
at an early meeting.
Sound in Philadelphia Two sound on film pictures
were featured at a late meet-
ing of the Philadelphia Cinema Club, gathered in the
Adelphi Hotel. They were Paradise, by Robert Henderson,
ACL, a record of nationally famous bands and their drum
majorettes, and an experimental demonstration film by Leon
Bardfeld. On the program also were Yellowstone National
Park and Glacier Park, 8mm. films by Francis M. Hirst, ACL.
San FrancisCO elects Meeting in the quarters of the
Women's City Club, members
of the Cinema Club of San Fran- [Continued on page 81 J
SUGGESTED EXPOSURES FOR NIGHTTIME SPORTS AND SHOWS*
Subject
Boxing, wrestling, spot-
lighted stage performers,
night-club entertainers,
ice carnivals, figure skaters
Swimming and diving
exhibitions, basketball
games, bowling, bicycle
Film
Type A Kodachrome
8 mm. Cine-Kodak Super-X
16 mm. Cine-Kodak Super-X
16 mm. Cine-Kodak Super-XX
Type A Kodachrome
8 mm. Cine-Kodak Super-X
16 mm. Cine-Kodak Super-X
16 mm. Cine-Kodak Super-XX
Aperture
//1.6-//1.9
//1.9-//2.5-//2.7
Z/2.7-//3.5
//4-//4.5-//S.6
//1.6
//1.6-f/1.9
//1.9
Z/2.7-//3.5
*This exposure information is based upon many successful tests but, for obvious variables, can not be guaranteed to
produce uniformly satisfactory results.
"With brightest lighting on these subjects, only.
IT TAKES
SPEED
...AND
BALANCE, too
JPEED AND BALANCE— that's what you need in a
movie film to get the difficult and fast-moving indoor action
shots of wintertime.
Speed — for maximum "seeing power" under indoor
lighting without loss of detail.
Balance — for correct contrast and latitude.
These you'll always find in proper combination in Cine-
Kodak Films. And these are the qualities which are particu-
larly important at this time of the year if you are to get the full
movie story of colorful and fast-moving indoor activities.
If you have an f/1.9 camera, or if your camera takes ac-
cessory lenses of comparable or greater speed, Type A Koda-
chrome is your film. Skaters and dancers, boxers and wres-
tlers, riders and ropers — every performer in a spotlight is
within easy reach of a fast-lens camera loaded with this night-
time color film.
But if your camera's lens is a little slower (or if your
f/1.9 lens has to see under lighting dimmer than spotlights)
Cine-Kodak Super-X or Super-XX is the film to use for black-
and-white movies.
The table at the left tells the exposure story. Check the
subjects it includes against your local activities calendar . . .
load up with a roll or magazine of the proper Cine-Kodak Film
. . . and treat yourself and friends to some of the finest and
most thrilling movie material on the cinematic menu.
EASTMAN KODAK COMPANY
ROCHESTER, N. Y.
Qs
\.
*r
/O
'**
X. ^ X.Q
v
*t *e %
%L%
^
^\
>> <s
So,
••v
■■?%
%;
V
PRICES
Kodachrome, regular or "Type
A": 8-mm. rolls, $3.65; 8-mm.
magazines, $4.00; 16-mm. 100-
foot rolls, $8.55; 16-mm. mag-
azines, $5.00. Cine-Kodak Su-
per-X "Pan": 8-mm. rolls, $2.40;
8-mm. magazines, $2.70; 16-
mm. 100-foot rolls, $6.40; 16-
mm. magazines, $3.75. Cine-
Kodak Super-XX "Pan": 16-mm.
100-foot rolls, $7.20; 16-mm.
magazines, $4.30.
All prices include processing.
Vke Clinic
68
Technical comment and timely topics for the amateur
KENNETH F. SPACE, ACL
Title printing stunt We are al-
ways glad to
hear from movie makers in distant lands,
and, when we receive an item for The
Clinic at the same time, such letters are
doubly welcome.
H. J. Hill, of West Australia, writes,
"Knowing the difficulties experienced in
producing titles that are different, I am
enclosing the results and the details of
a new method by which white letters
may be produced on a black back-
ground. This effect is needed especially
when double exposures are contemplat-
ed. I discovered the system when I was
experimenting with a printing press, in
setting up titles, and I have given the
method the name 'Photo Type.'
"I print the title directly on photo-
graphic paper. This procedure can be
done under darkroom lighting condi-
tions. The photographic paper title card
is then exposed to a sixty watt lamp for
from one half to one second, the lamp
being placed at a distance of two feet
from the card. The paper is then devel-
oped in a quick developer and is next
washed and placed in a slightly acid
hypo bath. After a few minutes, while
mtb
Jftgititgijls of ^algoorlte
Wat doloett Jltfe.
'Photo Type" title by H. J. Hi
the paper is still in the solution, the
printer's ink may be sponged off with a
piece of cotton, which leaves sharp
white letters on a black background.
"To test the effectiveness of the hypo
in removing ink, I printed a card and
allowed the ink to dry for two hours.
The card was then put directly into the
hypo bath, where I found that I could
remove the ink completely. The secret of
success with this method lies in print-
ing with good sharp letters and in using
a heavy ink, so that light cannot pene-
trate it when the card is exposed to the
sixty watt bulb."
The illustrations below show the let-
tering— first as it appears when it is
printed on the card and then as it ap-
pears when the paper is developed and
the ink is removed.
ACL leaders while most Lea§ue
members find the of-
ficial League leader, with its animation
and trick optical effects, completely sat-
isfactory, some filmers enjoy making
their own. They can include their own
names to identify their films as having
been made by themselves as members
of the Amateur Cinema League. Several
movie makers have written to us, asking
if the League has any objection to this
procedure. We are happy to say that
there are no restrictions other than that
the filmer must be a League member at
the time that he makes the leader and
that the wording should follow the offi-
cial pattern. In other words, you might
use "Member Amateur Cinema League."
"A Member of the Amateur Cinema
League" or "This Film Produced by a
Member of the Amateur Cinema League"
or some similar phrasing. We have seen
some very attractive League titles and
show above the one that is used by Dud-
ley E. Porter, ACL.
OBJECT IN FOREGROUND
Good composition is not a complex
problem, and one of the easiest things
to remember is to include some ob-
ject in the foreground of a scenic shot.
A foreground object gives the effect
of a frame and produces that "third
dimensional" appearance.
Dudley E. Porter, ACL
Card for a personal ACL leader
Be prepared Events that we want
to film often occur at
times when our cameras are almost
empty and when we do not have any
more film on hand. Sometimes you find
yourself out of film in the evening when
the stores are closed; thus, opportuni-
ties to preserve the unexpected visits of
friends or impromptu parties are lost
forever. Since we are usually sure to
need an extra roll of film within a month
or so from any given day and since the
manufacturers' guarantee allows us a
year, after the date of the film, in which
to expose it, there would seem to be no
reason why we might not purchase two
or more rolls of film at a time and keep
a reserve on hand. In the long run,
there is no extra expense and, with the
film on hand, we can be prepared for
the unexpected.
Flood bulbs and daylight One of
the val-
ues of a fast lens is that it provides a
means of filming indoor scenes by the
illumination of daylight from windows.
In most cases, the camera should be
placed near the windows and the day-
light should fall fully upon the subject.
If the camera is pointed toward the win-
dows and if the out of doors, as seen
through the windows, is included in the
picture, these portions of the scene usu-
ally will be very much overexposed.
Such a result is shown in the top pic-
ture at the right. Note that, in addition
to the glare and lack of detail in the
view out of doors, there is not really
enough light in the corner of the room
to record properly the objects there. The
solution is to use the illumination of
flood lamps in addition to the daylight.
Then there will be less contrast between
the light outside and that inside and
also you can properly balance the light-
ing of the indoor scene. To make the
lower picture shown here, a No. 2 flood
bulb was directed, in a reflector, toward
the corner of the room, and, since the
daylight was rather dull outside, the
outdoor exposure was very nearly that
of the interior. When you film a scene
in color, that is lighted both by artificial
illumination and by sunlight, use the
special daylight flood bulbs and regular
outdoor color film.
TELEPHOTO
The exposure for a given scene is
the same whether one is using a tele-
photo or a regular lens, but you must
set the focus of a telephoto more ac-
curately than that of the regular lens.
There is no way of making a tele-
photo fixed focus. If you find that you
cannot estimate distance accurately,
the best solution is to purchase a
range finder.
Larger areas While a wide angle
lens furnishes the
ideal way of obtaining scenes of a
larger area in restricted quarters than
could be filmed with the regular lens,
a bit of study of the filming locale may
result in a more efficient use of the ordi-
nary lens under these conditions. Often,
the movie maker will move back to the
wall of a room, in an effort to get the
largest possible view; yet he may still
discover that he is nearer the subject
than he wants to be. He may be able to
solve the problem by moving out into a
hall or into an adjacent room, but not
so far that the edges of the doorway
would appear within the scene area. By
ingeniously selecting camera positions
in halls and doorways, one can give to
a small apartment the aspect of spa-
ciousness.
Reflector When you want a reflector
as an aid in lighting a
scene, indoors or out, it may occur to
you to use a beaded projection screen for
the purpose. Indeed, the gleaming white
expanse of one's projection screen
would seem to be ideal for this use.
However, if we are to use the beaded
screen efficiently as a reflector, we must
remember that this screen does not
reflect light in the same way as does a
white or polished plane surface. In the
case of a beaded screen, light is reflected
back toivard its source, no matter at
what angle it strikes the screen. Thus,
with an ordinary reflector, we could
Use extra liqht for an interior
scene that includes open windows
catch light which might come from an
upward angle and reflect it horizontally
or to one side; but, if we use a beaded
surface under the same circumstances,
most of the reflected light is directed
upward again, toward the source.
Considering this fact, it is obvious that
a beaded screen serves as a reflector most
efficiently in illuminating the shadow
side of back lighted subjects and under
similar circumstances where reflected
light will be effective when its rays are
parallel to those of the original source.
The illustration below shows a beaded
screen properly placed, to reflect light
from an interior lighting unit. In such
setups, one must exercise care, that
none of the direct rays from the light
shine into the camera lens.
Snow scenes polarized Dont tor-
g e t the
decided improvement that a polarizing
filter will make on those sunlit snow
scenes that are so full of sparkle and
dazzle to the eyes. In fact, the dazzle
may be just plain glare, as far as the
film is concerned, and we want to avoid
that situation. The value of a polarizer
in improving any scene can easily be
ascertained, simply by looking through
the filter at the subject in question. If a
decided visual effect is seen when one
revolves the filter slowly, the same re-
sult may be expected on the film, if the
exact angle at which the filter is held is
maintained before the lens. Such a filter
is especially valuable as an aid to color
filming under these circumstances, as it
may help, not only in eliminating glare,
but also in providing effective contrast
between white snow and blue sky.
Camera spring If there is any
good reason (and
we do not like to admit that there is
any) for you to put your camera away
for a few months, remember to let the
motor spring run down all the way.
This precaution will preserve the life of
the spring and will prevent the discon-
certing thumps and jars that are often
encountered when a camera is used after
a long rest during which the spring has
been wound. These exaggerated vibra-
tions do no harm, but they are a sign
that the oil or lubricant has been
squeezed from the spring coils.
FUSES
After you have arranged lighting
equipment, camera and subject all in
position, nothing is more disconcert-
ing than to turn on the flood lights
and immediately to plunge the entire
house in darkness because the fuses
blow out. To add to your distress, you
may find that there are no spare fuses
and that the electric stores are closed
for the night. So always make sure
that you do not put more lights in
one circuit than the fuses will tolerate
and remember that a few extra fuses
are a very good investment.
Arrangement for using a beaded screen as a reflector
69
70
NEWS OF
THE INDUSTRY
Answers the query
"What's new?" for
filmer and dealer
• Kodak Ektra with focusing back mounted
on enlarger for copying. Bracket shown
can also be used to hold movie cameras.
Hal Roach in 16mm. Feature length films produced
by Hal Roach have been the-
atrical box office attractions wherever they have been shown,
and selected Hal Roach pictures are now available in 16mm.
sound.
Post Pictures Corporation, 723 Seventh Avenue, New York
City, has acquired world wide distribution rights to available
Hal Roach subjects, and four of these will be released dur-
ing the current season. These four, all recent hits, comprise
There Goes My Heart, with Fredric March and Virginia
Bruce; Topper Takes a Trip, with Roland Young and Con-
stance Bennett; Zenobia (An Elephant Never Forgets), with
Oliver Hardy, Harry Langdon and Billie Burke; Captain
Fury, with Brian Aherne and Victor McLaglen. These sub-
jects will be released successively from January 1 to June 1,
1942.
Photo Almanac The new- 1942 edition of the well
known annual, Universal Photo Alma-
nac, is now available. Edited by Louis H. Lanctot, A.R.P.S.,
it contains many articles on diversified branches of photog-
raphy, pictorial reproductions, formulary and other features.
It is published by Falk Publishing Company, 10 West 33rd
Street, New York City, at a price of $1.00.
Hartley School
The completion of a successful first sea-
son of instruction in substandard movie
making has led the Hartley School of Film Making to an-
nounce four new courses about various phases of production.
These include an Amateur Course, an Advanced Filming
• Moderately priced spotlight offered by
Display Stage Lighting Company.
RUSSELL C. HOLSLAG, ACL
Course, a Sound Recording Course and a General Course.
They may be taken singly or in combination. In addition,
there is announced a Cooperative Film Workshop, which will
provide criticism for film projects undertaken by students.
Subjects made under workshop guidance will be post record-
ed as part of the project. Details may be had from Hartley
School of Film Making. 20 West 47th Street. New York City.
New Polarizing Filters The John-Baylee Company,
32 Union Square, New York
City, now offers efficient polarizing filters mounted in optical
glass. This new polarizing material has been found effective
on test, and it should provide additional encouragement for
all movie makers to employ this valuable aid to better pic-
tures. The filters come in all sizes to fit movie or still cam-
eras, and there is offered a special Cine Color Kit, which
contains a neutral density polarizing filter, a Type A filter
for making outdoor pictures with indoor color film and a
haze filter, to absorb ultra violet rays which sometimes give
blue overtones to color. The kit is contained in a leather case,
with an all metal sunshade and filter holder. A free booklet,
Photography Through Polarization, has been prepared and
will be sent by John-Baylee Company on request.
Mini lenses for movies Through the use of new Cine
Adapters, owners of Leica
lenses for miniature cameras may now make use of these
objectives on their movie cameras. Two types of adapters are
available. One permits the use of Leica lenses with 16mm.
cameras having a type C lens mount. The other is made espe-
cially for use with 16mm. and 8mm. Magazine Cine-Kodak
cameras. Further information can [Continued on page 85]
• A premiere of a U. S. Department of Education Film, for which
Bell & Howell projector was used.
a
re cameras
THE United States is at war.
Because we are at war, there is no reason why we
should suddenly begin to cultivate hysteria. Indeed, we
should use better than ordinary judgment in our conduct.
The action of the officials of the city of New Britain,
Conn., as it is revealed in the correspondence between the
mayor of that city and the Amateur Cinema League, goes
so far beyond the expressed desires of the United States
government in the matter of using cameras that it raises
a serious question in the minds of a number of persons
as to the chaos that can result in this country if censor-
ship regulations are given local interpretation without
national coordination.
Unity of action is essential at this time. The only unity
of thought that is imperative is a common will to defeat
the enemies of the United States. In the traditional Ameri-
can fashion, there will be and should be criticism of the
methods used to bring about that defeat. But action must
be cohesive and coordinated.
Whatever rules are established in one American com-
munity concerning the use of cameras should be no more
restrictive and no less restrictive than those that are set
up in other communities. There is no room for "offside
plays" in this war. Each of us, in his actions, must gear
into whatever the national plan may be in the field of
those actions.
The Amateur Cinema League publishes the following
correspondence in order to warn the sane, patriotic and
practical men and women who own and use movie and
still cameras in this country to see to it that, in their
communities, officials do not develop local autocracies
that follow rules of their own. National action must be
unified.
December 22, 1941
The Honorable Mayor
New Britain, Conn.
Dear Sir:
It has been reported to us that the Police Department
of your city has issued an order prohibiting the use of
cameras, either motion picture or still, in the city of New
Britain, unless the cameras are operated within the vards
or buildings of their owners.
In view of the fact that the Amateur Cinema League
represents the organized personal movie makers of the
United States, and in view of the further fact that mem-
bers of our organization and subscribers to our maga-
zine are citizens of New Britain, I should appreciate the
courtesy of your informing me if such an order has been
issued, and, if so. what are its exact terms.
With my thanks in advance for your courtesy, I am.
Sincerely,
Roy W. Winton
Managing Director
December 26. 1941
Mr. Roy W. Winton
Amateur Cinema League, Inc.
420 Lexington Avenue
New York, N. Y.
Dear Sir:
This is to acknowledge receipt of your letter of the
22nd concerning the rule prohibiting picture taking in
di
angerous
?
71
Should each city limit
filming by local rules7
the City of New Britain.
Chief William C. Hart of our Police Department has
issued an order, with my approval, prohibiting the tak-
ing of pictures within the confines of New Britain only
on the property of the individual taking the picture.
Cameras will not be tolerated near this city's numerous
defense plants or other strategic places.
However, this ruling does not mean that the camera
enthusiasts will be barred from shooting pictures of other
points of interest locally. They can receive the necessary
permit from Chief Hart and take pictures other places
than their own property. I am sure that you will agree
with me that this ruling is not too severe in view of the
situation which now faces the country and in view of
the fact that New Britain is one of the strategic defense
cities of New England.
Yours very truly,
George J. Coyle
Mayor of New Britain
December 29, 1941
The Honorable George J. Coyle
Mayor of New Britain
New Britain, Connecticut
Dear Mr. Mayor:
I appreciate the courtesy of your letter of December
26, in reply to mine of December 22 concerning the
restrictions which you have placed upon the operation
of cameras in New Britain.
I understand and share your. earnest desire that noth-
ing shall interrupt the orderly and speedy operation of
the many defense activities in your city. However, I
should like to present for your consideration the view-
point of the many patriotic and serious minded Ameri-
can citizens to whom cinematographv and photographv
are serviceable tools, both for practical and recreative
purposes.
Pictures, either still or motion, are essentially means of
communication. In any restrictions placed upon com-
munication, by reason of war conditions, no more severe
regulations should be imposed upon one method of com-
munication than upon another. As nearly as may be
possible, these regulations should be uniform throughout
the United States.
I hope that you will permit me to question the wisdom
and justice of your regulation in New Britain regarding
cameras for the following reasons:
1. It is more stringent than [Continued on page 80]
72
FEBRUARY 1942
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8mm Model, complete with splicer, rewind
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8mm Projecto-Editor alone 29i50
16mm Model with Sr. Splicer and re-
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The Craig Senior Splicer
Makes professional splices easily — only four
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Films you'll want to show
Non theatrical movie offerings
for substandard projection
■ There Goes My Heart, 16mm. sound
on film, running time, eighty five min-
utes, is a breezy, action filled, romantic
picture released by Post Pictures Cor-
poration, 723 Seventh Avenue, New York
City. In it, we behold the adventures of
a pampered heiress who tires of her
opulent surroundings and yearns to lead
an unprotected life in contact with the
realities of the world. The stars are
Fredric March and Virginia Bruce.
179 W. MADISON ST., CHICAGO, ILL.
B In Old Spain, 8mm. silent and 16mm.
silent and sound, one reel, is released
by Castle Films, Inc., 30 Rockefeller
Plaza, New York City. This exotic sub-
ject reveals the beauty of ancient Spain,
crowned with gems of Saracen art, and
living still in the architecture of Gra-
nada and many other places. Outstand-
ing customs are also shown.
• Swing's The Thing, 16mm. sound on
film, running time, twenty minutes, is a
merry melange of popular music and
dance which will do much to add live-
liness to any movie entertainment pro-
gram. This short subject features Harry
Roy and his band and is presented in
lavish settings. It is exclusively distrib-
uted by Astor Pictures Corporation, 130
West 45th Street, New York City.
y$
wWMS ^jB
' Escape to Paradise, 16mm. sound on
film, about ninety minutes' running
time, features the child singing star,
Bobby Breen. The subject has tropical
Latin America as a background and
contains romance, adventure and tune-
ful melodies. Bobby sings six songs, all
with a Latin flavor. The supporting cast
includes Kent Taylor, Maria Shelton,
Joyce Compton and Pedro de Cordoba.
The film is distributed by Walter O.
Gutlohn, Inc., 25 West 45th Street, New
York City.
' Alexander Nevsky, 16mm. sound on
film, running time, ninety one minutes,
is a dramatic story of Thirteenth Cen-
tury Russia, showing the defeat of the
invading German knights by the Rus-
sians under Prince Nevsky. The release
of this film is especially timely, as its
theme parallels present day events. The
film is directed by S. M. Eisenstein and
has an original musical score by Sergei
Prokovieff. Distribution is by Brandon
Films, Inc., 1600 Broadway, New York
City.
MOVIE MAKERS
73
■ Journey by Train, 16mm. silent mon-
ochrome, four reels in length, is an in-
teresting new subject released by the
Filmo Library of the Bell & Howell
Company, 1801 Larchmont Avenue, Chi-
cago. In considering this film's impor-
tance, one should remember that mil-
lions of American children, as well as
many adults, have yet to take their first
train ride. The film shows in great de-
tail how a typical family packs, gets
tickets, checks baggage and spends day
and night on the rails.
How a club
plans war films
[Continued from page 57]
each of their departments — properties,
personnel, transport and publicity. As
the time draws near for each period of
filming, it is the responsibility of the
production supervisor to see that each
of his staff members is carrying out the
details of arrangements required of
him.
The Director
As the name implies, the director is
primarily and largely concerned with
planning and directing the desired ac-
tion of each filming job. He will, of
course, work in close cooperation with
the camera staff and. between them.
they will work out their requirements
on properties and personnel, which are
then arranged for them by the produc-
tion supervisor. Since it is expected
that these defense and first aid auxiliary
films will be based on officially ap-
proved fundamental scenarios, there
will not be the need in such a produc-
tion setup for the customary script
clerk. Such checks and records of
scenes shot and scenes to come, as are
needed, can easily be handled by the
director and the camera staff, working
in collaboration. They will be assisted
on the set by the property and per-
sonnel staff, the latter of which may
well be responsible for the important
detail of handling the scene slate un-
der the cameraman's direction.
Cameramen and Lights
The obvious duties of the camera staff
and of the lighting technician are to
get the pictures called for in the scena-
SPEED gets ANIMATION
THE speed of a Graflex gives you easy command of all sorts of ac-
tion— the finish of a race, a youngster's fleeting expression, or the
explosion of a snowball. And in those thin-sliced seconds animation
is captured and held. /
Of course, Graflex offers more than speed (focal plane shutter
speeds up to 1/1000). Direct, positive focusing on the hooded ground
glass assures correct focus, aids composition. The standard Kodak
Anastigmat lenses can be replaced with special purpose accessory
telephotos. Ask your Kodak dealer to show you the new Graflexes.
They rate your inspection.
Graflex and Graphic cameras are made by the Folmer Graflex Corp.
EASTMAN KODAK COMPANY, ROCHESTER, N. Y.
%/>
LIFE
zs: —
You get the BEST BALANCE of
picture-taking LIGHT, LAMP LIFE
and color temperature., when you say
Lamp Life, light output and color temperature move together. When
you win by changing one, you lose on the others. 60 years of lamp
making and research taught General Electric that. So, the folks who
make the lamps that Hollywood uses, found the best balance
of light, life and color for good pictures . . . and give it to you
uniformly, at low cost, in G-E Photofloods.
GENERAL ($$ ELECTRIC / BETTER
MAZDA PHOTO LAMPS V PICTURES
74
FEBRUARY 1942
GOERZ
KINO-HYPAR
LENSES
f:2.7 and f:3
For regular and color
ovies of surprising
quality, high chromatic correction
Focal lengths 15mm to 100mm— can be fitted
in suitable focusing mounts to Amateur and
Professional Movie Cameras.
!!
GOERZ Reflex FOCUSER
— Patented
J for 16mm Movie Camera users — voids PARALLAX
between finder and lens — provides full size
ground-glass image magnified 10 times. Adapt-
able to lenses 3" and up. Also useful as extension
tube for shorter focus lens for close-ups. Exten-
sively used in shooting surgical operations, small
i animal life, etc.
GOERZ Parallax-Free FOCUSER
and FIELD FINDER CONTROL
for Filmo 121 and Simplex-Pockette, no more off-
center pictures, magnifies 4 and 8x.
For Detailed Information Address
Dept. MM-2
C. P. Goerz American Optical Co.
317 East 34th St.. New York
American Lens Makers Since 1899
16mm SOUND on film
Recording Studio and Editing Facilities
BERNDT-MAURER RECORDER
GEO. W. COLBURN LABORATORY
II97-M Merchandise Mart Chicago
Photography made easy by unique
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PHOTOGRAPHY
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Castle release now available, regular lengths,
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rio. In previous conferences with the
director, in advance of shooting, they
will have worked out accurately the set-
tings and actions required, so that once
on the set they can move ahead with
maximum speed. The first cameraman,
when not actually behind the view
finder, should be in charge of all shoot-
ing, after discussing his purposes and
plans with his filming assistants and
the lighting staff. If more than one
camera is used in the production, it is
desirable to check carefully in advance
to determine whether the frame line
registration of the two instruments is
similar enough to permit unhampered
intercutting of the two "takes."
The ideal lighting man should be an
electrical technician with a sound
knowledge of circuits and current loads
— and, in addition, skill in the esthetics
of photographic lighting. But, of the
two, the former seems to be the more
important, since the first cameraman
will most likely be well versed in this
art himself and can direct the actual
placing of the lighting units. On ex-
terior sets, the lighting staff will be en-
gaged in handling the large reflecting
boards which are so essential to the
best results, and in both kinds of work
they should be responsible for the care
and storage of all lighting equipment.
Properties and Personnel
The majority of the duties of these two
departments already has been dis-
cussed in reference to the executive
duties of the supervisor, production
supervisor and director. Specifically,
the property man and his assistants
shall be responsible for the secure-
ment and care of all physical objects
involved in the production save those
otherwise assigned. Such exceptions
might be the aforementioned fire engine
and radio patrol car, physical objects
which are directly connected with oper-
ations and actions performed by per-
sonnel outside the club membership.
Even here, it is wise that somebody —
either supervisor or property man —
make a last minute check on outside
personnel, to be sure that they under-
stand clearly what services and equip-
ment will be expected of them. The
property department should be respon-
sible, as well, for securing and dressing
such locations or settings as are direct-
ly under the club's control — a dining
room set, a garage location and the
like.
In the hands of the personnel clerk
and his assistants are the responsibili-
ties for securing, as needed, such actors
and straight part players as are called
for by the director through the produc-
tion supervisor. Execution of these
duties should include a system of send-
ing notices to those needed. Notices
should give the place and time for
shooting, and the normal clothing (not
costumes or special properties) required.
The personnel clerk should make a final
checkup, to be sure that all these points
are clearly understood. Requests for
special materials of any kind will at
the same time be passed on to the prop-
erty head for action. On the set. the
personnel and property staff will assist
the director and cameramen in such
further matters as are required.
Transport and Publicity
Each of these departments will work in
direct cooperation with the production
supervisor, as the need and opportunity
for their services arise. To the trans-
port head will fall the job of organiz-
ing such transportation facilities as are
available among the club's membership
and assigning these facilities for use in
accord with the conditions of time,
geographical location and technical fit-
ness which may govern the situation.
Much effort may be saved in this regard
if as many permanent assignments as
possible can be made for the entire
course of the production.
In charge of publicity should be a
club member who is familiar with these
operations (such as a newspaper man)
and working with him there should be
one of the club's best still photogra-
phers, to cover every important phase
of the work. Since the "still" man will
no doubt be involved in a considerable
amount of darkroom work, besides pic-
ture taking, it is better if possible not
to charge him with entire responsibility
for publicity arrangements.
Editing and Titling
As the production progresses, the prob-
lem will arise as to who can or should
do the editing and titling of the finished
film. With the latter task, it seems
probable that one of the camera staff
will be a good choice; but, if you have
in the club a special expert at title
making, by all means put him at work.
The editing, on the other hand, is prob-
aby best handled by the director and
first cameraman, since they will be
most familiar with their script and
with the actual material that they se-
cured on film. Working with the script
and in reference to the scene slate num-
bers, they should prepare a rough cut
of the picture as the work progresses.
With all the footage at last in hand, it
will then be wise to arrange a check
screening of the yet unpolished produc-
tion with a small number of represen-
tatives of the client. Balancing their
comments and suggestions against the
actual opportunities for further change
and improvement, the editors are now
in a position to cut the film into its final
form.
MOVIE MAKERS
75
Snow fun
[Continued from page 59]
buttons in considerable confusion.
10. Long shot. A car comes down
the street. Follow it as it turns into the
driveway — or in front of the house (de-
pending on where Hank poured the
water) .
11. Closeup. The tires skid along the
ice.
12. Closeup. Father's face — sur-
prised, anxious.
13. Medium shot. The car at a crazy
angle (either in front of the garage or
askew at the curb). Father breathes a
sigh of relief. He gets out to see the
cause of his skid. Mother gets out on
the other side of the car and walks
toward the house.
14. Long shot. Another view of
Mother, walking toward the house.
Hank is seen, with his skates and
hockey sticks, coming toward the
camera.
15. Medium shot. Father looks at
the ice. He glances at Hank as the lat-
ter enters the scene. Father understands
quickly.
Title. "All right, bright boy. Now
you can just get the ice chopper and
clean off this slick idea of yours."
16. Medium shot. Father and Hank.
The boy's face falls in chagrin and he
turns back toward the house.
17. Medium shot. The front door
opens, revealing Mother, shaking her
head at the footprints on the carpet.
She comes out of the house and cups
her hands about her mouth, calling to-
ward the yard.
18. Medium shot. Two of the girls
look up and then run toward the house.
19. Medium shot. The doorway
again. Mother has disappeared; but, as
the two little girls enter the scene, she
reappears — this time with two brooms.
She says:
Title. "Now — about this snow on the
carpet! I think ive had better use the
broom — fast!"
20. Medium shot. The girls smile
sheepishly and start to work on the hall
carpet. Fade out.
21. Medium shot. Fade in. Hank is
working hard at his job with the ice
chopper. He pauses for a moment, and
Father enters.
22. Semi closeup. Father takes off
his hat, places it carefully on a dry sur-
face near at hand and then lays his
pipe in the groove of the hat. He speaks
as he straightens up.
Title. "Think maybe I need some ex-
ercise— probably can give you some
pointers on this job, too."
23. Medium shot. Hank smiles and
hands over the ice chopper with ob-
vious relief. His father takes over.
24. Closeup. An upward side view
of Hank, who is watching his father
work. Then, evidently hearing some
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DEFENSE
FILMS
? During the National emergency the
supply ot equipment naturally is
bound to be curtailed by govern-
mental decree — this means an extra bur-
den on the manufacturer of such equipment
— however the Neumade Company wishes
to give assurances of a continued effort to
supply movie makers with equipment as
quickly as present emergency allows — De-
fense for U. S. government films — and for
all films is essential for clearer — better pro-
jection.
W Neumade equipment is used in
' most important government de-
partments.
No. 1— Rewind Board— and
editing— complete -with two
geared end (1600 ft.) rewind-
ers— a Griswold Jr. Splicer,
cement holder and applica-
tor — all mounted on
weighted porcelain pan-
el 40" long 13" wide.
NEUMADE HUMIDOR
16mm Film Cabinet
All steel — electrically weld-
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holds 120-100 ft. reels.
More than 50 models to
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FOR
PROFESSIONAL
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USE
NEUMADE
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427 WEST 42-STRMT .
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THE CLINIC OFFERS
DEFENSE STAMPS
TO CONTRIBUTORS
We are proud to announce that, in future, all con-
tributions to The Clinic will be paid for in Defense
Stamps. For acceptable ideas, The Clinic will pay
$1.00 in Defense Stamps and for acceptable ideas,
accompanied by photographic illustrations or
drawings, it will pay $3.00 in Defense Stamps.
From February 1, these payments in Defense
Stamps will take the place of the payments by
binder and by check that were previously offered
for The Clinic ideas.
Send your filming stunts, your plans for home
built equipment to The Clinic. You can share your
ideas with other filmers and, at the same time,
share in our country's war efforts.
MOVIE MAKERS
420 Lexington Avenue
New York, N. Y.
76
FEBRUARY 1942
"PROFESSIONAL, JR." TRIPOD
The importance of 16 mm filming demands a
sturdy tripod built along professional lines . . .
the Professional, Jr. Built to precision stand-
ards "Spread-leg" design gives utmost rigid-
ity. Quick, positive height adjustment. Smooth
tilt and panoram head. Camera platform takes
EK Special, B&H Filmo. Bolex or Berndt-
Maurer cameras; also adaptable for 35 mm
Eyemo, Devry, etc. Ideal for sound and all
important work. Used by leading 35 mm news-
reel companies and 16 mm producers. Write
for descriptive literature.
CAMERA EQUIPMENT CO.
1600 BROADWAY NEW YORK, N. Y.
Ideal Subjects for Lenten Showings
In 16mm COLOR and SOUND
Springtime
m tfje SMp 3Uno
Not a religious film for any single creed,
but a beautiful reverent treatment of
the old Holy Places and the new spirit
in Jerusalem and Palestine. Two reels,
in Kodachrome, with narrative and beau-
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& Sabiottr 3? porn
A beautiful color motion picture of sin-
cere religious import, with spoken dialog
taken directly from Bible texts. A rev-
erent presentation of the Nativity.
3 reels
Mv S^eluueb Son
The words and wisdom of Jesus, beauti-
fully presented in authentic, natural sur-
roundings, re-creating the places where
He ministered. 3 ree)s
ASTOR PICTURES CORP.
130 W. 46th St. New York
CKT) KODACHROME (££)
Now ready: 400 ft., 16mm. Kodachrome copies of "The
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35mm Kodaslides (2x2), 50c each.
GUY D. HASELTON
noise, he looks in the opposite direc-
tion. He suddenly becomes interested
in something. As his face lightens, the
camera "pans" to a long shot of the
yard, where the children are building
the snowman.
25. Medium shot. The snowman.
The two little girls come romping into
the scene, both carrying their brooms.
One immediately sticks a broom into the
snow behind the snowman, to give him
stiff, blond hair. The other girl places
her broom in the snowman's hand, to
form a cane. She commences to cover
the straw at one end with snow. (The
snowman has now been equipped with
the buttons, filched by the girls.)
26. Medium shot. Hank, watching
this scene, smiles. He glances at his
father and then looks down.
27. Closeup. Father's hat and pipe.
Hank's hand enters the scene and picks
them up.
28. Medium shot. Father is chop-
ping away. Hank backs toward the
yard, carrying the "props" for the
snowman.
29. Medium shot. The activity
around the snowman, as the finishing
touches are made. Hank enters and
places the pipe and hat in appropriate
places. (Closeups are again in order
here, of the children as they work.)
Finally, they all stand back and ad-
mire their model.
30. Semi closeup. The snowman as
seen from the children's view. (Heads
of two children might frame this shot.)
31. Medium shot. Hank and some
others commence to get snowballs; then
they crouch behind the snowman.
32. Long shot. From behind Hank's
shoulder. Father is in the distance, at
work. A volley of snowballs flies toward
that hard working head of the family.
33. Medium shot. Father looks up
and instantly ducks, as a close one
sails by.
34. Closeup. Nancy lets out a whoop
of joy.
35. Closeup. A window of the house.
Mother's face appears. At first she
seems curious, then mildly amused. She
opens the window and leans out. She
calls :
Title. "Look, Henry, your hat and
pipe!"
36. Closeup. Father, still ducking
snowballs, looks up.
37. Closeup. The snowman, with
pipe, buttons, straw hair and hat.
38. Closeup. Father shakes his head,
then smiles and yells back:
Title. "Look, your brooms and but-
tons!"
39. Medium shot. The children, still
throwing snowballs, laugh uproarious-
ly. The end.
7936 Santa Monica Blvd.
Hollywood, Calif.
They learned by doing
[Continued from page 58]
with science and English, with assis-
tance from other departments of the
school.
The science class used the traffic
safety film as the basis for an intensive
study of safety problems, highway traf-
fic, transportation and the science of
filming.
The English class developed the sce-
nario for the film and assumed respon-
sibility for all correspondence and writ-
ten reports on production activity. All
twenty one students were in both classes.
Inasmuch as Oakvale is a rural com-
munity, it was a relatively easy matter
to decide that the film should concern
itself with rural traffic safety problems.
Furthermore, the school transported
more than eighty percent of its students
on buses; so it was quite natural that
the film be built around school bus
safety problems. Early in the project,
it was decided that a locally familiar
safety slogan, "Life's too short to take
long chances," would be shortened to
make the film title, Life's Too Short. So
far, so good!
The next step in the work of the class
was to determine just what should go
into the film. What was its story to be?
"Let's start shooting!" "What'll we
shoot?" "Why?" "How do we know
that's important enough?" Maybe this
project was going to take a little work.
As the next step in constructing the
outline for the film, the classes gathered
a great variety of safety problems in-
volving school bus riders and presented
them in the form of a mimeographed
questionnaire. All these were problems
that they had observed or that had been
suggested to them in informal inter-
views with classmates, safety patrolmen,
school bus drivers, State highway po-
lice, county officials in charge of school
transportation and others.
The questionnaires were distributed
to all school rooms, where they were
discussed and filled out. Each student
was asked to give his opinion on the
most dangerous safety practice observed
in connection with school buses. These
questionnaires were then collected, and
the answers were tabulated by the se-
nior class. Problems of equipment,
driver responsibility and other similar
situations were discarded early in the
study. The reason for this decision lay
in the fact that the local film was being
planned for use with student groups;
therefore, it should include only those
problems over which students could ex-
ercise primary control. Then, too, "One
short film can't tell it all, anyway!" On
this basis, the class discovered five dan-
gerous practices to be of major impor-
tance to local students:
1. Carelessness in boarding the school
bus; failure to watch where one steps.
MOVIE MAKERS
77
2. Failure to remain in the line estab-
lished and supervised by the patrolmen
while they are loading the bus.
3. Failure to observe correct practice
in unloading from a bus; pushing;
shoving and jumping in descending the
bus steps.
4. Failure to obey safety patrolmen
and the bus driver in crossing the
highway to and from the bus stop.
5. Playing carelessly along the high-
way while waiting at the bus stop.
So, there was the outline for the film.
"Let's go shoot it!" But. still there was
work to be done. How could these five
situations be made into an organized
story or continuity? How would they be
presented in the film? What artificial
link could be supplied, to prevent them
from appearing as five isolated ideas?
Days and days later, the continuity
began to take final shape. The film was
to show the five dangerous practices, as
discovered in five of the interviews that
the students had made. After each inter-
view was reenacted before the camera.
a sequence of one of the five safety
problems was to appear. Here, at last,
was a story outline for the camera.
And, again, the youngsters stopped to
think. Here, in the outline before them,
was the negative approach to their prob-
lems. Should not the film also show the
correct way in which each of the dan-
gerous practices could be avoided? "All
right, we'll show the right way, too!"
As a means of introducing the "right"'
way, each safety problem was to be en-
acted a second time; but, in this case,
all practices were going to be safe and
proper.
"Okay, let's go!" And off they went
— camera crew, properties crew, loca-
tion committee, casting directors, script
clerks, the dramatic cast and three fac-
ulty advisers, whose chief function had
been, and would continue to be, that of
a handy alibi for anything that did not
"pan out" exactly as planned.
Life's Too Short started through the
camera at last. It was going to be a
"cinch" from here in! The script was in
"apple pie" order, everything planned
down to the last fade out. The script
called for a footage of approximately
350 feet in 16mm. Kodachrome. No fuss.
no bother — just read the script and
shoot it!
The first 200 feet of film were rushed
off to the processing laboratory, and
production was breezing along on the
home stretch. Came the day when the
class sat down to preview the first
scenes — only another 150 feet to shoot,
and then they could wrap it up.
Well, 550 feet later —
And therein hangs a lot more of the
same tale. The lesson was learned quick-
ly— shooting 350 feet of film, even if
done according to a well planned script,
does not necessarily certify that the
film editors are going to have 350 feet
of film to go into the finished reel.
These youngsters wanted a 350 foot film
story. To get their minimum demands,
they shot 750 feet of film. Maybe ex-
posure was not up to standard, or per-
haps the screen action did not look as
it did on paper. Or, perhaps, in spite of
precautions, somebody managed now
and then to spoil a scene in such subtle
fashion that it did not show up until
the film was screened. So — ■ they shot
and reshot!
Even then, they were not completely
satisfied, but the dead line was almost
upon them. Dead line was Graduation
Night! Because they had lived their
work so intensely, because they felt a
pride in their accomplishment — even
though it still did not measure up to
all their hopes — they threw tradition to
the dogs and planned their entire grad-
uation program around the explanation
and first public showing of their film.
No adult speaker was going to steal the
applause on their program!
Life's Too Short, a student planned
and student produced film, received its
premiere on Graduation Night. On the
evening's program, preceding the film,
student speakers described the back-
ground of their project; they explained
how they went about producing their
film as an educational activity and told
what they thought it meant to them and
future classes of the high school.
At the end, the face of the student
spokesman was split with a wide grin.
'"It takes work to make a movie — but
it's fun!"
Special
projection aids
[Continued from page 61]
sandpapered, and the inside was painted
French gray. The outside is painted a
two tone gray and navy blue, in a man-
ner simulating airplane luggage.
The film rack and cover lips are built
of three quarter by one quarter inch
white wood strips, cut to fit.
Steps for projector feet
I have christened another handy
"gadget" a "projector elevator," for
want of a better name. Built of three
quarter by one quarter inch white wood
strips of varying lengths, in a stair like
fashion, it is illustrated in Fig. 6. The
surfaces are flat and will allow a good
purchase for the projector feet. One
uses two elevators in the rear of the
projector and one or two, as required.
in the front. With these devices, you
can raise the projector to almost any
needed height.
You'll Make
with the
Baylee Cine -Color
FILTER KIT
K|*.r»o
You can get really excellent color
movies with the right filters. And
here are the filters you need, preci-
sion ground of optical glass, com-
pactly placed in a leather filter case
with individual pockets — complete
with lenshade filter-holder combina-
tion, at a bargain price.
The set includes a polarizing filter
for darkening skies without color
distortion and reducing color-disturb-
ing glare indoors or out ... a "must"
for good color shots; a Type A filter
for shooting indoor Kodachrome out-
doors; and a haze filter to absorb
the ultra-violet rays that overtone
blue.
The Baylee Filter Kit comes in sizes
to fit most standard movie cameras.
You'll find few such filter buys . . .
and the quantity is limited ... so
you'd better see it TODAY.
MAIL < HUM Its FILLED
110 West 32nd Street, N. Y.
World's Largest Camera Store
Built on Square Dealing
Established 1898
78
FEBRUARY 1942
FILMS FOR
VICTORY!
Closeups —What filmers are doing
Vitally Important 16 mm. sound shorts for
home users, air raid wardens, bomb han-
dling units, etc.
THE WARNING
Showing the work of civilian and military
defense during and after an air raid. 3
reels.
STOP THAT FIRE!
How to extinguish incendiary bombs.
GOOFER TROUBLE
WAR and ORDER
PM's Editor Ingersoll reports:
I SAW RUSSIA
HITLER'S THREAT TO AMERICA
HISTORY IN THE MAKING Series with
Tex McCrary as commentator. 26 titles in-
cluding
OUR WAR— ROUND I
THE NEW DISORDER
PRODUCTION SOLDIERS
Send for complete list of these timely films
available for rental and sale.
WALTER 0. GUTLOHN, Inc.
25 West 45th Street, Dept. M-2, New York, N.Y.
05JB3nmi35ESM3
We know you're proud of your
16 mm movies! We're proud of
our titles, too! They'll give your
movies that Hollywood touch.
Our Kodachrome titles sparkle
with a brilliant array of color.
SOUND TITLES
10 words SI .50
KODACHROME TITLES
10 words 2.50
SEND TRIAL ORDER TODAY
10 words of copy on silent film.
Postpaid for only.
J&£«*
Three Fine
FILM CHESTS
Manufactured of beautiful quarter-sawed sycamore with
a natural glossy finish; lock corner construction.
Brass plated hardware, consisting of handle, lock and
key, hinges and lid-stay.
Solid wood partitions to divide reel cans and felt pads on
interior of front and back of chest to keep cans from
rattling.
AVAILABLE IN THREE SIZES AS FOLLOWS:
8mm. 8 reel capacity 200' — $2.95
8mm. 8 reel capacity 300' — 3.25
16mm. 8 reel capacity 400' — 3.75
THE NEGA-FILE COMPANY
EASTON PENNSYLVANIA
Those delightful Norwegian Christmas
customs, so charmingly pictured by
Mrs. Olaf N. Olsen, ACL, as to win her
a Ten Best award, were shared to a de-
gree this year by the staff of this
magazine. For, in the heart of the holi-
day season between Christmas and New
Year's, there arrived from St. Paul a
large, but strangely light, carton
marked "Rush" and "Fragile." Within,
as immaculately packed as Mrs. Olsen's
films are edited, were bounteous sam-
ples of her incredible goodies — the
lefse, or potato cakes; the pear bread,
rich with sweetmeats, and the dainty,
wafer thin Christmas cakes. The ex-
press company was right. Never have
cookies been so fragile as the fattig-
mand, Krumkake, sandbakkelse and.
rosettes!
To their many friends in the amateur
movie world, Movie Makers is happy
to announce the arrival of daughters to
Kenneth F. Space, ACL, present tech-
nical consultant of the League, and to
Frederick G. Beach, ACL, past tech-
nical consultant and now supervisor of
motion pictures for the New York Cen-
tral Railroad. Mrs. Space gave birth
to Sandra on December 19, in St. John's
Hospital, while Mrs. Beach brought
Nancy Wright into the world on Jan-
uary 3. at Methodist Hospital, both in
Brooklyn, N. Y.
EOUIPMENT
If you have not already realized it,
many types of movie equipment are
becoming increasingly difficult to ob-
tain readily. If you have in mind any
pet piece of equipment that you plan
to purchase "someday," you would do
well to buy it now.
F ollowing the special interest in cine-
matography which he developed while
at the Harvard Medical School some
years ago, Warren Sturgis, ACL, is
now in charge of motion pictures for
the U. S. Naval Medical School, re-
cently established at the new Medical
Center, in Bethesda, Md. The bulk of
the film work consists in the produc-
tion of record films of routine surgery,
clinical studies and research problems,
as well as general consulting on the
production of health films for distribu-
tion among Navy personnel. In his new
work, Mr. Sturgis holds the rank of
ensign, a commission awarded him last
June, following a course of study in
the Naval Reserve. He had served pre-
viously as an assistant director with
the March of Time.
To Louis McMahon, ACL, of Passaic,
N. J., goes the honor of having his film.
The Black Rider, the first of Movie
Makers award winners to reach the
television screen of the Columbia
Broadcasting System, in New York
City. Presented on a forty five minute
program over WCBW, Mr. McMahon
appeared in person — together with sev-
eral of his colleagues in Adventure Pic-
tures— in an interview with Gilbert
Seldes, director of television for CBS,
whose invitation to award winners for
telecasting was extended in the De-
cember number of Movie Makers. In a
latter part of the program, Russell C.
Holslag, ACL, of the League's staff,
discussed with Mr. Seldes popular types
of camera and projection equipment
used by the amateur filmer and demon-
strated their use before the televisor.
Deep in the bush of Southern Rhodesia,
sixteen miles from Fort Victoria, the
nearest habitation, stand the Zimbabwe
Ruins, a gigantic pile of masonry rank-
ing with Ankor Thom and the Mayan
pyramids in unsolved mystery. Such is
the subject of Rhodesian Riddle, a film
planned by H. R. Eddy, ACL, of
Springs, in the Transvaal, in which he
will record all the important structural
features of Zimbabwe. Since not even
the date of building can be accurately
determined by archeologists (although
it is confidently placed at 1000 B. C. or
earlier), Mr. Eddy is appropriately us-
ing a background of shadowy, moving
question marks on his title cards.
I f you attend any screenings of those
films of Central and South American
countries that are being distributed by
the government Office of Inter Ameri-
can Affairs, the chances are that all the
fine color footage of Mexico was filmed
by Ralph E. Gray, ACL, Maxim Award
winner of 1938. Mexican Fiestas, the
1600 foot prize winner, Mexican
Moods, a feature length successor, and
several thousand feet of lesser subjects
have been placed by Mr. Gray at the
service of the government in this cam-
paign for increased understanding
among the Americas.
TEST FILM
You may find, like other movie
makers, that not infrequently you will
reach the last few feet of film in the
camera and find that you have not
enough unexposed film for a shot of
satisfactory length. Instead of running
the film off and wasting it, we suggest
that you use such footage to make test
shots. There are always things that we
should like to try out but hesitate to
waste film in doing so — filter tests,
aligning title boards, testing title ex-
posures and so forth. The few extra
feet at the end of a roll will give you
enough film to make these trials.
MOVIE MAKERS
79
HOW SACRAMENTO WORKS
EARLY last year, Sacramento. Calif.,
turned to the cinema medium, to
acquaint its citizens with the workings
of the municipal government. The re-
sult is The Pulse of Sacramento, a
twenty five minute film in color, with a
narrative and musical background. The
idea was jointly conceived by the city
manager, James S. Dean; the assistant
superintendent of schools, George C.
Jensen; and the executive manager of
the Sacramento Safety Council, Ralph
K. Clark.
Mr. Dean and Mr. Clark worked
over the scenario and the narrative un-
til the first part of March, when the
time finally arrived for the actual film-
ing. For this job, they chose W. Jen-
nings Lucas, ACL, a former newsreel
cameraman. Mr. Lucas started work on
March 18, filming in turn such depart-
ments of the city as the police, fire,
water, health and so forth. Shots of the
city council meeting and some of the
department scenes were unposed; the
others were directed by the producers.
When the shooting was completed, Mr.
Lucas and Mr. Clark spent three weeks
cutting and editing the 2800 feet of ex-
posed film, to obtain the finished prod-
uct of 875 feet.
While the editing was in progress,
members of Station KFBK, operated by
the Sacramento Bee, were hard at work
on the sound for the movie. Emil Mar-
tin, a staff organist, prepared a musical
accompaniment, after which the an-
nouncer, Larry Robertson, in a twelve
hour session, added the narrative, to the
organ record. When this post recorded
sound was put on the film, all was in
readiness for the preview by the city
councilmen in Sacramento, June 6.
The movie was well received, and Mr.
Lucas writes, "the copies are booked
for weeks ahead." This success has
stimulated plans for future films.
Courtesy Sacramento Bee
March Winter": 1/50 at F/ll, ortho film, K-2 filter
Let pictorialist
Gustav Anderson te
why he used his
G-E EXPOSURE M
on this shot
II you
ETER
• Above, frame enlargements from "The
Pulse of Sacramento," story of the mu-
nicipal government of Sacramento, Calif.
Below, W. Jennings Lucas, ACL, camera-
man, and Ralph K. Clark shooting Fire
Department first aid.
A love for skiing, and
25 years of pictorial
photography explain
Mr. Anderson's mastery
of snow pictures.
"To capture the beautiful gradation of tones
in these sparkling highlights and dark shadows,
your exposure must be RIGHT — within half
an F-stop. I know by experience that I can
depend on my G-E meter for unfailing accu-
racy, even in sub-zero weather!
Get a G-E meter, and get better pictures in
black-and-white or color. You'll like its quick,
one-hand operation (grand for ski trips); its
sharply directional field of view that guards
shadow detail; its
sensitivity in dim
light; and its sturdi-
ness. At good photo
dealers everywhere.
General Electric Co.,
Schenectady, N. Y.
o
GENERAL m ELECTRIC
80
FEBRUARY 1942
NOW!
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Substantial is the word for it! Here's
the tripod you need for better movies.
Rigid and sturdy, CASPECO Tripod
gives rock-steady pictures. Full pan-tilt
head locks firmly at a turn of the handle.
Tilt top allows camera to point straight
down for title making, etc. Legs lock
securely at any height by a simple twist;
this special design (pat. applied for)
was originated by Caspeco. Tripod ex-
tends to five feet in height. Beautifully
finished in polished metal and battleship
gray. A lifetime buy at $15.00
CAMERA SPECIALTY CO.
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For all 8 & 16
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$12.50
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Are cameras dangerous?
[Continued from page 71]
the rules that have been announced as
representing the desires of the Army
and the Navy. I enclose a page from the
January number of the magazine pub-
lished by the Amateur Cinema League,
Movie Makers, which outlines the re-
strictions now in existence.
2. It singles out cameras, both mo-
tion picture and still, for restrictions
that have not, so far as I have learned,
been imposed in New Britain upon
other means of communication. I do
not believe that you have forbidden the
citizens of your community and the
visitors who come to it to write letters
and to entrust them to the United
States mails for delivery. I doubt
whether you have banned the use of
telegrams or have enforced a stoppage
of all telephone communication. I have
not heard that you have suspended the
publication of newspapers in your city. I
am quite certain that you have not made
conversations outside a man's own home
illegal in New Britain. I am of the opin-
ion that newspaper and newsreel cam-
eramen are not required to secure a
specific permit from your police de-
partment before they record specific
events in New Britain with their cam-
eras. I do not believe that you have de-
nied the right to your citizens to as-
semble in meetings, either formal or
purely social.
Yet, I submit, Mr. Mayor, that all
these means of communication are ca-
pable of transmitting more detailed in-
formation concerning any war activi-
ties in New Britain than are cameras
in the hands of private citizens of the
United States. The fact that cameras
have been made the subject of roman-
tic tales of espionage in novels, on the
stage and on the screen and the fact
that both Japanese and Germans are
addicted to the use of cameras have
caused the popular mind unthinkingly
to conclude that a camera can be as
deadly as an incendiary bomb. As a
matter of actual reality, one telephone
conversation in a foreign language
could give to our enemies more infor-
mation concerning the war activities of
New Britain than could a hundred cam-
eras operated on your beautiful streets.
If you were to be entirely logical and
consistent and were to forbid letters,
telegrams, telephone calls, newspapers,
conversations and meetings in New
Britain, for the reason that they are
more detailed means of communication
than are cameras, you would find, Mr.
Mayor, that your Chief of Police would
have a minor revolution upon his hands
and that you and he would be the ob-
jects of national ridicule.
I submit that the regulations already
existing on a national scale that cover
communication of all kinds are those
that best serve the present emergency.
The object of your solicitude is a na-
tional and not a local matter. The pos-
session of cameras by enemy aliens has
already been forbidden by our national
government, but they, as well as sta-
tionery and postage stamps, still are
permitted to the citizens of the United
States, for reasonable use — outside of
New Britain.
The matter of censorship of com-
munications is being given definite and
not unreasonable attention by the
United States government. It has been
brought about largely by the free and
voluntary cooperation of our citizens,
in the important fields of wired and
wireless communication. The appoint-
ment of a highly respected newspaper
man as Director of Censorship has as-
sured the people of our country that
the watch over letters and publications
will be conducted in a calm and fair
way.
If local authorities go beyond these
national controls, there will inevitably
be expressions of local and individual
viewpoints. In your city, cameras are
banned, except under rigid restricted
use. In some other city, telephones will
be singled out as the potential traitors;
elsewhere lectures, sermons or news-
papers will be the objects of local con-
demnation. The end of all these in-
dividual censorships will be national
chaos.
On behalf of the organized personal
motion picture makers of the United
States who are members of the Ama-
teur Cinema League, as well as the hun-
dreds of thousands of camera owners
and users in our country, I ask you,
Mr. Mayor, to rescind your instructions
to your chief of police concerning the
use of cameras in New Britain and I
urge that you follow the national regu-
lations that have been announced and
that will, from time to time, be modi-
fied, which govern the use of cameras
at the present time.
I shall greatly appreciate further
word from you, after you have read
this letter.
Very sincerely,
Roy W. Winton
Managing Director
A popular titler plan
[Continued from page 62]
concerned the height of the camera
block. Readers asked how it could be
ascertained and why this dimension was
not noted on the construction diagram.
The reason why this dimension is not
indicated is that the height of the block
varies according to the make of the
camera that is to be used on the titler.
However, it is a simple matter to dis-
cover the proper height for the block
for your particular camera. On a title
MOVIE MAKERS
81
card, the full size of the title easel,
draw diagonal lines connecting the op-
posite corners of the title card and then
place the card on the easel. (See Fig l.~)
Then measure the distance from the
point at the center of the card, where
the lines cross, to the base of the titler.
This distance is found by adding the
distances A and B in Fig. 3. Next,
measure the exact distance from the
lower edge of the camera to the center
of the lens. (C in Fig. 3.) By subtract-
ing the distance C from the total of A
and B, the correct height of the camera
block (X in Fig. 3) results.
A curved drawer pull may be fastened
to the back of the camera block for ease
of handling, if desired. The inside cor-
ners of the camera support may be rein-
forced with metal brackets, for added
sturdiness, and a tripod screw, although
it cannot be seen in the drawing, should
be placed in the top of the block, to
hold the camera in solid position.
If you wish to use your camera at a
variety of distances from the easel in
the course of title filming, a metal meas-
uring tape or a yardstick may be fast-
ened on top of one of the molding
strips. By using the tape or yardstick,
you can quickly place the camera at
any specific distance from the title
easel.
Amateur clubs
[Continued from page 65]
cisco gathered recently for their annual
dinner and election of officers. Those
chosen by the club for leadership in
1942 were Rudy Arfsten. ACL, presi-
dent; Anthony Kleyn, vicepresident;
Fred Youngberg, treasurer; Mrs. John
Seitz, secretary. Three directors were
chosen from among the five club mem-
bers who were suggested by the nom-
inating committee: David Redfield,
John Smurr, ACL, L. J. Duggan, ACL,
Fred Wells and L. M. Perrin, ACL. Ice
Follies and Summer Vacation, both by
Allyn Thatcher, rounded out the elec-
tion night program.
In Milwaukee Fourteen films were
entered by eleven
members of the Amateur Movie Society
of Milwaukee, in that group's recent
Fourth Annual Contest. Judged in
8mm. and 16mm. divisions, the original
entries were cut down to the five best
in each class by a board of club mem-
bers. The top ten were sent to the ACL
office for rating by the staff of the
League. The final decisions of the con-
sultants of the League rated the films
as follows, in each group: 8mm. — My
Garden Diary, by Mrs. William Rhein-
gans; A Dog's Life, by William Rhein-
gans; Childhood Memories, by Mrs.
DeLylia Mortag; Time Marches On, by
Al Wutdke; Oh, Daddy, by A. H. Ker-
sten, ACL; 16mm. — House and Garden,
by Mrs. Erma Niedermeyer, ACL; Lit-
tle and Lively, by Lawrence Kakatsch,
ACL; Legion on Parade, by Eugene
Millmann, ACL; Ducks vs. Hunters,
by Mrs. Niedermeyer; Behind The
Scenes, by Dr. Frederick Hadley. The
Milwaukee club maintained a booth, ex-
hibiting equipment and films, through-
out the four day run of the Wisconsin
Hobby Exposition, held in the Milwau-
kee Auditorium.
Union County counts Although
still less
than a year old, the Union County Cin-
ema Club, ACL, with headquarters in
Elizabeth. N. J., boasts forty nine paid
up members and formal acceptance as
an affiliated unit of the Union County
Park Commission. Officers for the club's
first year are Alfred A. Little, ACL,
president; Alan Cavadel, vicepresident;
Neil Hurley, secretary; William W.
Chamberlin, treasurer. Michael Di Pris-
co is editor of Reel Life, a news bulletin
recently inaugurated.
Eights See Winner Featured on
a recent pro-
gram of films presented by the New
York 8mm. Motion Picture Club was
Auntie in Moccasins, the comedy of
camping by Joseph Harley, ACL, which
later won him a place in the Ten Best
of 1941. Mr. Harley is a member and
officer of the Motion Picture Club of
the Bell Laboratories Club, ACL, in
New York City. Other pictures seen by
the 8mm. group were a Christmas color
film by Joseph F. Hollywood, ACL; a
color scenic of Acadia Park, Maine, by
Mr. Roesken, and unedited footage of
the South Seas, submitted by a friend
of a club member.
Metro ballots Officers for the com-
ing year have been
elected by the Metro Movie Club of
River Park, in Chicago, as follows: Dr.
C. Enion Smith, ACL, president: Mor-
ris Baker, ACL, vicepresident; William
J. Wright, treasurer; Russell Nebrick,
secretary. Serving with them on the
board of directors are Theodore D.
Shaw, ACL, James Stevenson, ACL.
L. M. Jacobsen, Harry M. Clark, ACL,
and I. T. Cloud. Members' films seen at
late meetings have been produced by
A. H. Elliott, ACL, and the Messrs.
Smith, Shaw and Clark.
Tri-City dines Seventy members
and guests of the
Tri-City Cinema Club — gathered from
Rock Island and Moline, 111., and
Davenport, Iowa — met around the ban-
quet tables recently for that unit's
annual dinner meeting. Raymond
Schmidt, ACL, the club's president,
served as toastmaster, with John Hoff-
man. ACL. recording the festive oc-
casion in 16mm. Kodachrome. The pro-
gram featured a screening of The Will
HAL ROACH
16mm SOUND FILMS
Available for
FIRST TIME!
Good news for home movie fans . . .
churches . . . schools . . . institutions
and others! 4 rollicking Hal Roach hits
for non-theatrical presentation. Makes
your audience feel all's right with the
world. Puts your show over with a
bang! Order from your film library —
today!
THERE
GOES
MY
HEART
(Available
Now)
Fredric March, Virginia Bruce. Extra! Dash-
ing reporter clashes with headstrong heiress!
Does he get his story? Does she hold on to
her heart?
TOPPER
TAKES
A
TRIP
(Available
Now)
Constance Bennett, Roland Young. A beauti-
ful "ectoplasma-girl" leads Topper a merry
chase! Laughs! Unusual camera tricks!
ZENOBIA
(An
Elephant
Never
Forgets)
(Available
May I, 1942)
Oliver Hardy, Harry Langdon, Billie Burke,
Alice Brady, Hall Johnson Choir. Gay! Origi-
nal! Hilarious! Has Zenobia a phobia?
CAPTAIN
FURY
(Available
June I, 1942)
Brian Aherne, Victor McLaglen. Australia's
Robin Hood rides again— fighting for free-
dom, in this thrilling adventure tale. Action!
Contractual agreements require the maintenance of a
minimum daily rental rate of $17.50. An allowance
of $2.50 is permitted on group or contract bookings.
Offering these pictures at lower prices may lead to
cancellation of exhibition without notice.
POST PICTURES
723 Seventh Ave. Dept. 13 New York, N. Y.
82
FEBRUARY 1942
CI
a ss i
fied
a d ve r 1 1 s i
£§
| Cash required with order. The closing date for
the receipt of copy is the tenth of the month pre-
ceding issue. Remittance to cover goods offered
for sale in this department should be made to the
advertiser and not to Movie Makers. New classi-
fied advertisers are requested to furnish references.
■ Movie Makers does not always examine the
equipment or films offered for sale in CLASSI-
FIED ADVERTISING and cannot state whether
these are new or used. Prospective purchasers
should ascertain this fact from advertisers before
buying.
10 Cents a Word Minimum Charge $2
| Words in capitals, except first word and name,
3 cents extra.
EQUIPMENT FOR SALE
| BASS SAYS: Cine leadership displayed more
than ever by magnificent choice of fine equip-
ment. USED CAMERAS: 8mm. Bell & Howell
Single 8, //3.S lens, with case, $22.50; 8mm.
Keystone, f/2.7 lens, with case, $27.50; 8mm.
Bell & Howell Sportster, Cooke f/2.5 lens, with
case, $57.50; 16mm. Bell & Howell 70A, Cooke
//3.5 lens, 844.50; 16mm. Victor 3, Dallmeyer
f/2.9, $47.50; 16mm. Bell & Howell Magazine
Model 141, Cooke //2.7 lens, case, $87.50; 16mm.
Kodak Cine Magazine, f/1.9 lens, $92.50; 16mm.
Simplex Magazine Pockette, Kodak f/1.9 lens,
focusing mount, optical finder, with 3" Hugo
Meyer telephoto interchangeable, $89.50; 16mm.
Magazine Filmo Model 121, Cooke //1. 8 lens,
case, $74.50; 16mm. Bell & Howell Autoload
Master Turret outfit, 15mm. fixed focus //2.7
wide angle, 1" f/2.7 focusing, 2" Acura Telate
//2.8 focusing, $247.50; 16mm. Movikon, Son-
nar f/lA, coupled range finder, with case,
$295.00. USED PROJECTORS: 16mm. Bell &
Howell Model 57A, reconditioned, 400 watt lamp
and case, $47.50; 16mm. Bell & Howell Model
57GG, 375 watt lamp, variable resistance and
volt meter, with case, $64.50; 16mm. Ampro
Model NC, 750 watt lamp and case, $107.50;
16mm. Kodascope Model EE, 750 watt lamp,
$50.00. USED SOUND PROJECTORS: Victor
Animatophone Model 33, 750 watt lamp, 10 watt
output, 1600 ft. with speaker and case, $217.50;
Victor Animatophone Model 40A, new condi-
tion, 750 watt lamp, 20 watt output, with
speaker, $275.00; RCA PG-60, 1600 ft. capacity,
500 watt, complete, $97.50. Limited Number:
Discontinued new model Craig Jr. 16mm. ani-
mated Editor, Splicer and Rewind. Regularly
$31.50; our price, $23.65. In stock — all the hard
to get cameras and projectors, including Filmo-
masters, Ampro KD's and Ampro 8's. Just out —
complete revised Cine price list, covering larg-
est assortment in the country including sound.
Free on request. BASS CAMERA COMPANY,
Dept. CC, 179 W. Madison St., Chicago, 111.
■ ONE Model D. Filmo, turret front, excel-
lent condition, offered with Mayfair case and
one f/3.$ Taylor Hobson Cooke 1" lens, price
$80.00. JAMES FLETT, 400 W. Madison St.,
Chicago, 111.
■ 16mm. BOLEX, filter slot, focuser tube,
transito, synchronous motor, wide angle and 1"
f/1.5 Hugo Meyer lenses, 2" Dallmeyer //2.9
and 3 M" f/3.3 telescopic, carrying case, list
$924.30; sell factory condition $575.00, condi-
tion guaranteed. S. HOWE WILLIAMS, Dos-
well, Va.
■ BARGAIN: Berndt Maurer recorder, 400 foot
magazines, unilateral type track; guaranteed ex-
cellent condition. FILM ASSOCIATES, 429
Ridgewood, Dayton, Ohio.
■ CONTAX Series II, //1.5 lens, absolutely
new condition, field case; also Cine-Kodak 8mm.
Model 90, magazine loading, standard and wide
angle lens, field case. Best offer accepted.
WALTER A. MARCIL, 54 Athol St., Spring-
field, Mass.
■ AURICON SOUND ON FILM RECORDER,
like new, $625.00; 16mm. Cine-Kodak Model B,
f/1.9 lens, good, $39.50; 16mm. Bolex with
Kodak f/1.9 lens, like new, $195.00; 8mm.
Bolex with Wollensak //1.9, like new, $195.00;
like new 16mm. Bell & Howell 141A with new
B & H fixed focus //2.7, $79.50; 8mm. Cine-
Kodak Model 20, f/3.5, excellent condition,
$19.50; 8mm. Bell & Howell Sportster, f/2.5,
like new, $57.50; 16mm. Cine-Kodak Magazine,
//1.9, excellent, $79.50; 16mm. B & H Model
70DA with new Kodak f/1.9, excellent condi-
tion, $149.50. Sale of film from our rental
library. 8mm. complete edition, $3.75; 16mm.
complete edition, $6.00; 16mm. sound deluxe,
$12.75. Most Castle, Official and Fireside sub-
jects available — limited quantity — condition, like
new. Complete stock of 8 and 16mm. movie cam-
eras, projectors, lenses and accessories. HABER
& FINK, INC., 12 Warren St., New York City.
BArclay 7-1230.
EQUIPMENT WANTED
■ FIDELITONE dual turntable with three pick-
ups, prefer without amplifier, new or used, write
full description and lowest cash price. A. A.
HEBERT, 53 Allyn St., Hartford, Conn.
FILMS FOR RENTAL OR SALE
■ MONEY maker! "The World's Greatest Pas-
sion Play." 16mm. and 35mm. sound or silent.
Purchase or rent everywhere. Superior to Ober-
ammergau play. Write HEMENWAY FILM CO.,
33-B Melrose St., Boston, Mass.
■ 8-16-35mm. FILMS bought, sold, exchanged.
Silent, sound, $2.00 up. Odd reels, $1.50; 1000 ft.
35mm., $.95. Catalog, sample film, 10c. INTER-
NATIONAL, 2120 Strauss, Brooklyn, N. Y.
■ 8MM-16MM Sound and silent films, projectors
and cameras; bought, sold and exchanged. Trades
and terms accepted. Free bargain bulletin.
ZENITH, 308 W. 44th St., New York.
■ BARGAINS: Used 16mm. sound films for out-
right sale. $4.00 per reel and up. MAJESTIC
16MM PICTURES, 1611 Davenport, Omaha,
Nebr.
FILMS FOR EXCHANGE
■ EXCHANGE: Silent pictures, $1.00 reel.
Finest sound film programs, rent reasonable; also
sell. CINE CLASSIC LIBRARY, 1041 Jefferson
Ave., Brooklyn, N. Y.
■ SOUND, silent films exchanged, rented,
bought; 8 & 16mm.; always bargains. Get on our
list. FRANK LANE, 80 Boylston, Boston, Mass.
■ 8MM FILMS! Castle Releases. 50 ft. 180 ft.
New prints. Good used prints. Sales. Exchanges.
Trade-ins. RIEDEL FILMS. Dept. MM-242, 2221
W. 67th St., Cleveland, Ohio.
TRADING OFFERS
■ REVOLVERS. PISTOLS, SHOTGUNS,
RIFLES — very liberal allowances for such fire-
arms toward purchase of photographic equip-
ment. In spite of present conditions, we can
make immediate delivery of Bolex cameras, East-
man Model 90 8mm. Cine-Kodaks, Bell &
Howell 8mm. and 16mm. projectors, Bell &
Howell Filmosounds, 1-inch //1.5 lenses, l^-inch
f/1.9 lenses, 2-inch f/1.9 lenses, 15mm. f/1.5
lenses, 2-inch f/1.6 lenses, Kodak Ektras, and
other items now very scarce. Write for full
particulars. NATIONAL CAMERA EX-
CHANGE, Established 1914, 11 So. 5th St.,
Minneapolis, Minn.
MISCELLANEOUS
■ COMPLETE printing outfit for movie titles:
presses, type, ink, paper and supplies. Write for
details. KELSEY PRESSES, D-50, Meriden, Conn.
■ EDITOLA — for double system 16mm. Sep-
arate heads for sound and picture. Shows picture
and reproduces sound. Particulars. EDITOLA,
894 Woodland Ave., Oradell, N. J.
Just Out
A Brand New League Leader —
different from all preceding ACL
leaders. It combines a leader and
a "THE END" title.
The new ACL leader combines an
introductory animated sequence
to open your film and a "THE
END" title to splice at the end of
a picture. The leader and "THE
END" are separated by two blank
frames so that it is easy to cut them
apart.
Both sections of the leader are
cleverly animated with profes-
sional trick work ... a brilliant
combination of wipes, zooms and
other effects.
League leaders are given free to
every member when he renews his
membership. They are given free to
every member who gets a new mem-
ber for the League.
Otherwise, they are offered to ACL
members at the following prices:
8mm 50c 16mm 60c
Amateur Cinema League, Inc.
420 LEXINGTON AVENUE, N. Y., N. Y.
and The Way, Maxim Award winner
for 1940, and three other selected films
from the League's Club Library. Tom
Griberg, ACL, presented each of the
members with an attractive club mem-
bership leader, filmed in Kodachrome.
In Chicago Having completed their
fourth year of monthly
informal dinner meetings and educa-
tional programs, the Chicago Cinema-
tographers announce a few vacancies
for new members in 1942. The club is
a small unit that is interested in ad-
vanced phases of movie making, accord-
ing to the announcement of F. W.
Novak, publicity chairman. Further in-
formation about the group may be had
from Mr. Novak at 3006 South Chris-
tiana Avenue, in Chicago.
Seen at Winnipeg Members'
films have
been featured at late meetings of the
Winnipeg Cine Club, in Canada, ac-
cording to reports published in Movie-
Craft Neivs, the club bulletin. These
have included Eastern Canada and the
United States, by Alex Taylor; Calgary
Stampede, Banff and Lake Louise, by
H. S. Cox; With the R.C.A.F. on Active
Service, an 8mm. black and white rec-
ord film by a member of the Canadian
Air Force; Colorful Seasons and Merry
Christmas, by Dr. C. H. Goulden. ACL;
With the Winnipeg Horticultural So-
ciety, by William Cross. Members of
the group are planning production of a
film of Winnipeg's war effort, under
the leadership of Walter Lawson, sec-
retary.
S. L. O. Cinema Club New on
Califor-
nia's coast is the San Luis Obispo Cine
Club, ACL, organized late in 1941. First
officers include Louis Perozzi, ACL,
president; Mitchell W. Allen, vicepresi-
dent and program chairman; Charlotte
Negrich, secretary treasurer; Earl
Farmer and Louis Washburn, directors.
Meetings are being held on the first and
third Mondays of the month, in Mission
Hall on Monterey Street.
Practical films
[Continued from page 63]
indigenous to the area. This movie is
constantly being revised, for Mr. Hil-
fiker inserts new footage whenever he
shoots some that he considers better
than scenes in the existing film. Life at
the Beaver Pond has been seen by over
60.000 persons within the last year,
Mr. Hilfiker estimates, in school and
museum groups and conservation organ-
izations. Besides this production, Mr.
Hilfiker has a film of the life history of
the Cecropia moth and another of wild
flowers that are native to Rochester.
N. Y.. where he has done most of his
filming.
MOVIE MAKERS
83
Scout Activities Filmed
In 1200 feet of 8mm. film, Henry J.
Brock, ACL, sets forth the practical
side of Scouting for the Boys' Club of
St. Marys, Pa. Not only did Mr. Brock
wish to interest members of his Troop
Committee and parents of prospective
Scouts, but he also wanted to demon-
strate to other troops the possibilities
of 8mm. film for publicity work in their
own communities. Opening with scenes
of experienced Scouts teaching the new-
comers, the body of the movie is con-
cerned with life at camp.
Prefabricated Houses
Sponsored by Pease Woodwork Com-
pany, of Cincinnati, a 1200 foot, 16mm.
color film with sound, called Peaseway
Houses, was released by Film Associ-
ates, of Dayton, Ohio. Set forth in an
interesting manner are the steps in the
erection of prefabricated houses, with
emphasis placed on the speed and sound-
ness of construction. David Pease di-
rected the film. Ray Arn was camera-
man, Fred Shelton, jr.. was the script
writer and Kirby Brooks was the nar-
rator. The film closes with scenes of
completed houses in Ohio and Indiana.
College Publicity Film
The University of Tulsa sponsored a
film last summer to be shown to par-
ents, prospective students and other in-
terested groups. Going to College runs
1200 feet of 16mm. Kodachrome and
was produced by the Filmcraft Studio
of Tulsa, under the direction of Robert
D. Mullin. Bud Wood and Jack Howell
were the cameramen and W. E. Morris
was the narrator. According to Mr.
Mullin, the greatest handicap was the
lack of sufficient power to light interior
scenes. For a sequence in the swimming
pool, it was necessary to shoot at eight
frames a second. This film will be dis-
tributed publicly — see the Free Film
Reviews for details.
Hartley Reports
Spectrum Products Company, Inc..
sponsored a film recently produced by
Hartley Productions, entitled The Iso
Color Process. This 400 foot work
makes use of both color and black and
white film, the color portion being
saved for the climax at the end. The
new process depicted in this film en-
ables one to make a natural color print
from any kind of separation negative
in his own darkroom. Spectrum Prod-
ucts are distributing the film on the
free loan basis — consult the Free Films
page for complete data.
Osteopathic Movies
Dr. Ralph W. Rice, ACL. chairman
of the Committee on Professional Vis-
ual Education for the American Osteo-
pathic Association, recently produced
two films for the medical profession.
Athletic Injuries, two reels of 16mm.
monochrome, shows the correct proce-
dure for treating the "Charley horse"
and the sprained ankle, two of the most
common athletic injuries. Dr. Wilbur
Bohm, physician for the teams of Wash-
ington State, is featured in this film.
Second Lumbar Lesion Research runs
to three reels of Kodachrome and was
prepared for the Association's research
laboratories, but Dr. Rice writes thai
it is adaptable for presentation to sci-
ence and premedical classes. The re-
search was conducted by Louisa Burns,
assisted by S. R. Daniels. Both movies
are booked from the American Osteo-
pathic Association, 540 North Michigan
Avenue. Chicago, 111.
Civilian Defense Film
As his contribution to the defense
corps, organized by the employees of
the Brooklyn Union Gas Company, in
New York, Edward H. Marsh, ACL.
has produced a 16mm. color movie
showing the various ways in which to
stop a burning gas main, broken by an
explosion. Four methods are described
in the film, each one applicable under
certain conditions. The first shows a
conical plug being inserted into the
broken end of the main. Second, if
there is a valve, it may be turned off.
The third way is to place a rubber bag
in the opening and to inflate it with a
pump. Finally, heavy grease can be
pumped in, to plug the main. At the
end of his film, Mr. Marsh shows a
newly developed method of quickly re-
pairing broken mains without squaring
off the jagged edges.
Marksmanship Movies
With the cooperation of the National
Rifle Association. Transfilm. of New
York City, has completed Pistol Bulls
Eyes, the War Department's official
training film in the use of small fire-
arms. This two reel sound film is being
widely circulated among schools and
police departments throughout the
country. A six reel series. Fundamen-
tals of Rifle Marksmanship, filmed with
the help of the United States Marine
Corps, is also ready for release.
News from Calvin
Sponsored by the Mercury Corpora-
tion, a newr 16mm. sound film in color
was released in July by The Calvin
Company, of Kansas City, Mo. This
merchandising movie was planned to
sell the Mercury rapid battery charger,
and it will be used exclusively within
the Mercury organization. The Wings
of Mercury was directed by William G.
Wilson; Harry Philpott was the cam-
eraman. Robert Levy was the narrator
and Lloyd Thompson was the sound
man.
Now You Can Take
Such Swell Pictures!
Now at last you can get make-up specially
developed for your black-and-white photogra-
phy. Subdue bad features, achieve flattering
movie-quality pictures and save retouching!
Hampden's Photographic Make-up is a com-
plete easy-to-use kit for all your make-up
needs. It comes in the new stick form with
full instructions on how to use!
Creamy • non-greasy • blends perfectly •
easy to remove • conceals minor defects •
gives the skin a beautiful, smooth, satiny finish.
Save time, trouble, wasted film and have
more beautiful, natural-looking pictures. Get
your kit at any photographic store or from
Hampden Sales, 251 Fifth Ave., New York.
POWD'R-BRSE
Write for FREE
Illustrated Booklet
$200
PHOTOGRAPHIC MAKE-UP
• Wesco's New "VICTORY
NO
METAL
REEL FILES
will safely preserve
your precious films!
Here's the newest, smartest and
most convenient method of re-
cording and storing your valuable
8 mm film.
De Luxe Library Se-
ries of 3 volumes, safe-
ly holds IS — 200 ft..
8 Bim reels. Sturdily
built in black or
brown fabricord. Car-
rying ease with swivel
hinge front cover. Com-
plete, with 18 plastic
reels S I 6.75
Without reels I O.OO
De Luxe Individual Files
may be purchased separate-
ly. Holds 6—200 ft.. S mm
reels. Dustproof. Makes
cans unnecessary. Remov-
able index for titling and
listing. Complete with 6
plastic reels $4.75
Without reels 2.50
Unconditionally Guaranteed ! Send for Circular
WESTERN MOVIE SUPPLY CO.
HOLLYWOOD SAN FRANCISCO
84
FEBRUARY 1942
WHERE?
COLOR
FILMS
And color-layer
distortions need
deep-seated chem-
ical protection
that surface lac-
quers and lubri-
cants cannot pro-
vide.
THROUGH YOUR
DEALER
All dealers can provide
effective, economical
VAPORATE film protection
against damage from cli-
mate, wear, scratches, stains
and finger marks. Progres-
sive dealers are just as
eager to sell you low priced
services that better your re-
sults as high priced gadgets
that boost their profits.
vapQrate
BETTER PHOTO FINISHERS
OFFER VAPORATE PROTECTION
FOR STILL NEGATIVES
VAPORATE CO., INC. I BELL & HOWELL CO.
130 W. 46th St. 1801 Larchmont, Chicago
New York City I 716 No. LaBrea, Hollywood
SCRAPBOOK AIDS FILMING
Mara-Movie
EDITING
RACK
— makes movie editing
a pleasure. Has 40 num-
bered sections to hold
8 or 16mm. scenes as
you cut them apart.
Take scenes from rack
and splice in continu-
ity. Movie editing is
easy with a Mara-
Movie Rack.
COMPUTE OUTFIT, $1.75
2 for S3.25; 3 for S4.75 Mara-Movie Editing Racks
are 17^4 s 11 in. in size and have collapsible easels and
snug-fitting covers. Sections are 2 : 2 in. for 8 or 16mm.
coils. 100 printed continuity slips and simplified direc-
tions for movie editing furnished with each outfit. Order
one today. Edit your movies the easy way! Inquiries In-
vited from Dealers.
MARATHON PHOTO SUPPLY CO.,Box415-B,Wausau,Wis.
WINDBACKS
FRAME-
COUNTING
Guaranteed accurate. Expertly engineered
and installed. Money-back guarantee.
Keystone . . . SI 7.45 • Filmo . . . S23.50
Eastman . . . S23.50
Precision Built Accessories for Every Need
Write Us Your Requirements
CUSTOM BUILT CAMERA ACCESSORIES CO.
5710 Cedar Springs • Dallas, Texas
Filmusical Concert
Piano, cello, vocal numbers
World famous artists in 16mm. sound
Write now for free list
(Specify sound and/or silent)
EWIS FILM SERVICE
216 E. 1st St. Wichita, Kansas
Safety in Shipment
16MM
Insist on
Cases that
bear this
trade-mark
For
Shipping —
Express or
Parcel Post.
SIZES
200, 400, 800, 1200, 1600 & 2000 ft.; also for
disc records. If your dealer or jobber can-
not supply you, write us direct.
FIBERBILT CASE CO.
40 WEST I7th ST. NEW YORK CITY
GEORGE OLIVER SMITH, ACL
BEFORE I begin a movie, I start a
scrapbook! I get out shears, paste
pot and files of newspapers and maga-
zines and start clipping and pasting.
"A movie maker has enough to do
without cutting paper dolls," you will
say. But, before you dispose of the
idea in that way, let me tell you how
useful I find it.
For example, suppose that I am con-
sidering filming a winter picture — snow
scenes, winter sports and human inter-
est situations connected with winter's
frost and cold. My first step is to start
cutting out winter pictures from every
magazine or newspaper that comes to
the house. I collect reproductions of
drawings and paintings, as well as of
still photographs, for what I want
from my scrapbook is not guidance on
exposure or focus, but ideas for scenes
and sequences and hints on composi-
tion. So everything is grist for my mill.
After I have collected all the mate-
rial relating to winter that I can find in
the house and all that I can "snitch"
from neighbors' magazines, I sort the
pictures and commence pasting them
in my loose leaf scrapbook. On blank
pages between the pictures, I write
my script. Of course, in the process,
many of the pictures that I have
clipped, sorted and pasted so indus-
triously are discarded. But what re-
mains is invaluable to me.
I find that this procedure suggests
ideas for scenes that would never have
occurred to me otherwise. Often, I can
imitate the subject matter in a particu-
lar picture; but, even more often, the
picture will stimulate my imagination
and will suggest something quite dif-
ferent. Sometimes, I can follow a com-
position exactly.
Once I was planning an autumn reel
— corn shocks and hunting. One picture
of a hunter and his dog, clipped from
an advertisement, gave me an inspira-
tion for a staged sequence that turned
out to be the gem of the picture. That
picture showed the proper, yet grace-
ful, way of carrying a gun; it illustrated
a good composition of a hunter and
his dog and suggested a background
composition of corn shocks, receding
into the distance, that gave depth and
additional interest. After all, the pic-
ture had been worked out by the master
minds of photography and art.
So, if you want to make an unusual
picture of your baby, just look at the
pictures of babies in magazines and
newspapers, not even neglecting the
advertisements. Some of the ideas, you
will find, are pretty fine, and many of
them will suggest continuation of the
situation into a sequence. Cut out the
pictures and start a baby scrapbook.
Then begin to plot and to plan; you
will find that the pictures will give you
new ideas for action, viewpoints and
properties.
To enliven films of high school activ-
ities, one can get good ideas from the
comic strips that deal with the life of
the teen age. Based on such material,
I started a film of my younger brother.
He is a freshman in high school, and
this is a story of his first "date." His
friends are all going to be in the pic-
ture and they all want to act. All are
helping to collect pictures and strips
'Listen! Not another foot of film without me being dressed up, or Vm a widoiv!"
MOVIE MAKERS
85
A Few
SPECIAL BARGAINS
^. Simplex, f:3.5 lens, Good Con-
dition SI6.50
Simplex, f:1.9 lens, Good Con-
dition 45.00
Victor 3, 1:2.9 focusing mount
lens, Good Condition 44. 50
Filmo 75, f:3.5 lens, Excellent
Condition, with case 37. 50
Filmo 75, f:1.8 lens, Excellent
Condition, with case 52. 50
Cine-Kodak BB, f:3.5 lens, Good
Condition 16.50
Cine - Kodak Magazine, f :1.9
lens, Good Condition 79.50
Keystone B, f :3.5 lens, Excellent
Condition 18.75
Keystone A7, f:2.7 lens, Excel-
lent Condition 34. 50
All cameras guaranteed 90 days. Sold
on 10-day free trial money back basis.
Terms arranged if desired. Technical
consultation free at all times. Write us
your needs. Trades accepted.
RABSONS, INC.
111 West 52nd St. ( Near Radio City)
New York, N. Y.
You've no idea . . .
. . . what a tremendous improve-
ment good titles will give your
films. Why not let us bring you
this fine, professional finish at
moderate cost?
KODACHROME— BLACK &
WHITE— TINTED TITLES—
8mm. or 16mm.
STAHL
EDITING & TITLING SERVICE
33 West 42 St. New York
W US FOR
1 PHOTO
^EQUIPMENT
1003 PENNSYLVANIA AVE. N.W., WASHINGTON, D. C.
LEARN TO PRODUCE
SOUND FILMS
Interior, exterior filming and recording tech-
nique, script writing, directing.
Cooperative Film Workshop
Workshop members help prepare movie for
commercial distribution on protitsharing basis.
HARTLEY SCHOOL OF FILM MAKING
20 West 47th St., N. Y. C. L0. 3-2343
The Automatic Splice Marker
and Brilliant Viewer
8 MM
16 MM
$8.50
1 rtcl.
excise
tax
The Baia Motion Picture
Engineering Co.
166 Victor Avenue
Highland Park, Michigan
of "goofy" tricks that can be used in
the movie.
This process may seem to be like
copying and may even smack of pla-
giarism, but I find that there is still
plenty of room for originality, even if
the ideas of somebody else have helped
me to form my own.
Studying still pictures of quality
helps one to improve the composition
of his own movie shots. If you just look
at good pictures, you will find that a
certain amount of feeling for composi-
tion will come to you. If you study good
compositions carefully and if you try
to equal them, you will learn even
more.
I look at good color pictures, both
paintings and reproductions of out-
standing color photographs in maga-
zines. I have learned much about color
contrasts and color compositions and I
have gotten many good ideas for ar-
rangement of properties in color scenes.
My mother's hobby is poetry, and
she edits some kind of "poet's corner"
in a daily newspaper. She is always
complaining about the poets who send
in material and who write, "Here is a
poem I dashed off just as it came to
me" or "I never put any effort in my
poems — they just come to me." She
says that these explanations are not
necessary, for the poems speak for
themselves.
Haste is also self evident in un-
planned pictures, and usually it is not
necessary to explain, "I just took the
pictures of things as they showed up —
just snapped 'em anyway."
I hope that, with a little more plan-
ning. I may be able to take pictures
that I shall not have to explain away.
That is why I am trying in every way
to develop some plot or plan and that
is why I keep scrapbooks for my
movies.
News of the industry
[Continued from page 70]
be had by writing to the manufacturer
of these adapters. E. Leitz. Inc.. 730
Fifth Avenue, New York City.
New SDOt A moderately priced,
efficient spotlight with
plenty of power has recently made it's
appearance. Made by the Display Stage
Lighting Company, 254 West 47th Street,
New York City, the new Fresnel Photo-
spot will take 300. 500 and 750 watt
standard projection lamps, and it also
may be used with a 500 watt, 3200 de-
gree Kelvin lamp for Kodachrome. The
lens is a six inch Fresnel. and there is
a focusing control for spot size and
shadow sharpness. The hinged front is
opened to convert the unit unto a flood
lamp. A spring tension swivel mount is
incorporated that gives control of the
beam movement for follow shots. Front
filter holders are provided, for color and
Light Your Subjects
with VICTOR
Fotoflood Units
HERE'S the equipment for light-
ing- with Photofloods: the VIC-
TOR "520-S" Twin Stand model for
No. 1 lamps. Both "Diffuser-Flec-
tors" swivel on a full-swiveling
cross arm. The cadmium plated
stand elevates to 6V4 ft. Price, com-
plete, $7.95.
See your dealer or write for folder
James H. Smith & Sons Corp.
222 Lake St. Griffith, Indiana
8 ENLARGED <f ^ REDUCED A
TO IO TO O
Black and White or Kodachrome
GEO. W. COLBURN LABORATORY
Special Motion Picture Printing
II97-M MERCHANDISE MART
CHICAGO
Complete Rental Service
16mm SILENT ") -..«,-
8mm SILENT V FILMS
16mm TALKIE '
PROJECTORS — SCREENS — CAMERAS
Send for your FREE Catalog
NATIONAL CINEMA SERVICE
71 Dey St. New York WOrth 2-6049
wmmmmmmmmmmmmmmmmmm^m
SOUND ON FILM
• COMPLETESTUDIO FACILITIES
• BERNDT-MAURER EOUIPMENT
• SKILLED WORKMANSHIP
and
• MODERATE PRICES
WE ARE ALSO COMPLETELY EQUIPPED
TO HANDLE THE ENTIRE PRODUC-
TION OF I4MM COLOR AND SOUND
FILMS.
Price List Free on Request
SPOT FILM
PRODUCTIONS, INC.
339 EAST 48 STREET N. Y. C.
86
FEBRUARY 1942
New A
COLOR c
TITLE
OUTFIT
for making
KODACHROME
White or Black
ON PHOTOGRAPHIC BACKGROUNDS
Outfit includes: A-to-Z Title Maker (12 Alphabets.
1600 Initials) 30 Figurettes in color; Title Frame
(7" x 9" area) 12 sheets of 8" x 10" clear, washable
Acetate Film; 6 jars of special Colors (Red, Yellow.
Blue, Green, White. Black), 10 Photographic 8" x 10"
Background Prints; 10 sheets 8" x 10" Tracing Paper;
Brush and complete instructions. FREE SAMPLE KIT.
Complete outfit at your dealer or send $6.50 direct
A-to-Z MOVIE ACCESSORIES
175 FIFTH AVE., Dept. M3I, NEW YORK CITY
(jLhii^ltd Sown)
is comiisigtoi6mm FILM
WATCH FOR IT!
J.A.MAURERJNC.
tlT EA8T24 ST. NEW YOBK
SOUND ON FILM
Rent-Exchange-Sale
Modern High Grade Features & Shorts
CINE CLASSIC LIBRARY
1041 Jefferson Ave. Brooklyn, N. Y.
KODACHROME REDUCTIONS
16 to 8
Special Laboratory Treatments
PARTH LABORATORY
MT. POCONO. PENNA.
In March Movie Makers . . .
• Survey of today's editing equip-
ment for the movie maker
Here is a picture feature that
gives you the high lights of
the editing and splicing equip-
ment available today. Splic-
ers, rewinds and viewing de-
vices are covered.
• Amateur movie tricks with Holly-
wood results!
Louis McMahon, ACL, tells
how he produced the most
exciting and professional ap-
pearing tricks in The Black
Rider. This story tells the
"inside" of some of the
cleverest photoplay tricks to
be filmed by an amateur
movie maker.
• Movie making in wartime England
War hasn't stopped movie
cameras and projectors in
England, although it has
brought many changes to film
subject matter. Read this
amusing story of cine adven-
tures in an England at war.
• The wide angle lens
It has uses that you may not
suspect. This article gives
you valuable information
about the wide angle lens,
and the points covered are
illustrated by special pic-
tures and frame enlargements
... a typical Movie Makers
staff feature.
All in March MOVIE MAKERS
MOVIE MAKERS
420 Lexington Ave., N. Y., N. Y.
other effects. Inexpensive accessories in-
clude an experimental color filter kit,
masks, diffusing screen, light stands
and light stand adapters. Retail price
of the Photospot is §12.95.
New guide American Cinematog-
rapher Hand Book and
Reference Guide, by Jackson J. Rose,
A.S.C., 250 pages, fourth edition, is an
up to date and informative issue of this
well known handbook that will be of
great value to movie makers, both ama-
teur and professional. It contains valu-
able tables, charts and other material
on the technical aspects of taking and
showing movies. The price is $3.50.
Caspeco tripod A new "pan"
and tilt head
tripod of substantial construction is
now offered by Camera Specialty Com-
pany, Inc., 50 West 29th Street, New
York City. This new camera support is
of all steel construction; the tilt head
is controlled and locked in any position
by a removable handle, and the "pano-
ram" movement may be locked by
means of a small lever. The tilt head
allows the camera to be pointed vertic-
ally upward and downward. The tubu-
lar legs consist of two sliding sections,
and a twist of the outer section locks
each leg at the height desired. Leg tips
are reversible for rough ground or for
smooth surfaces. The finish is gray
enamel and polished nickel and the
price is $15.00.
Castle cartoons A new series of
nine amusing
cartoons has been released by Castle
Films. Inc., 30 Rockefeller Plaza. New
York City. These films are available in
8mm. silent and in 16mm. silent and
sound. The cartoons, all modern, are
the productions of the famous Terry-
toon animation artists. Titles include
Tom, Tom the Piper's Son, The Moth
and the Spider, The Owl and the Pussy-
cat, The Mouse and the Lion and Farm-
yard Whoopee.
Film cases A new line of film
storage chests, which
combines neat appearance with utility,
is the product offered by the Nega-File
Company, Easton, Pa. The film chests
are made of sycamore, handsomely
grained and fitted with brass plated
hardware, including lock and key. Par-
titions separate each reel, with or with-
out cans. There are three sizes — in
8mm., two chests, one holding eight 200
foot reels at $2.95 and one holding
eight 300 foot reels at $3.25. The 16mm.
chest holds eight 400 foot reels and
sells for $3.75.
Filmo library has 8mm. The addi-
tion of an
8 mm. film rental service to the Filmo-
sound Library of the Bell & Howell
Company. 1801 Larchmont Avenue, Chi-
cago, will be an item of great interest
to 8mm. filmers. The initial listing,
which appears in the 1942 edition of
the Filmosound catalog of Recreational
Films, includes seventy five subjects
with a wide range of titles. Both black
and white and natural color subjects are
available. Rental charges are seventy
five cents a reel for monochrome and
$1.50 a reel for color.
film spools !
Save your
TO ENCOURAGE the conservation
and re use of certain metal products
connected with both still and motion
pictures, the Eastman Kodak Company
has set up a program for the return of
these products, as follows:
1. Both still picture and cine clubs
are urged to establish a bin or other
collection system through which to
gather roll film spools, Cine-Kodak
reels of all kinds and certain other
products.
2. Shipments of collections of these
metal products should be made to the
Kodak Company in lots weighing from
twenty five pounds up. Shipments of
from twenty five to forty pounds should
be made by prepaid parcel post, for
which the club will be compensated.
Shipments over forty pounds in weight
should be made by collect freight. The
outside of each package should state
the contents.
3. Address all shipments to Eastman
Kodak Company, Kodak Park. Building
64, Rochester, N. Y., and place the
name and address of the club clearly
on the outside of the package.
4. The following are the metal items
desired and the allowance rates which
are offered for them: Kodak Roll Film
Spools — $5.00 a thousand; Kodak Film
Pack Cases— $25.00 a thousand; Re-
torts with Spools for No. 135 Kodak
Film — $20.00 a thousand; Aluminum
Containers for No. 135 Kodak Film Re-
torts— $10.00 a thousand; 8mm. and
16mm. light metal projection reels, all
types and sizes — $.01 each; 8mm. and
16mm. camera spools, depending on
size — $.05 each and up; cine camera
spool containers, depending on size —
$.005 each and up. NOTE — shipments
need not be made in collected batches
of 1000 units, but simply in collections
of twenty five pounds or more.
5. Although no allowances can be
made for metal products returned by
individual camera workers, Movie
Makers urges that they cooperate with
this important conservation plan, by
turning in their unneeded supplies of
these metal products to their local
movie or still photographic clubs or to
their photographic dealers.
lAse'te pAettif <pAaud ol Uili LooJz
WE thought How to Make Good Movies
was a good book when we first brought
it out. And we've tried to keep it an equally
good book throughout its several modest re-
vises and substantial new printings.
Changes have been made in copy and
illustrations from printing to printing when-
ever necessary. Yet the bulk of the mate-
rial in the 230 pages is essentially as it was
when the book was first brought out — almost
125,000 copies ago!
At the left, below, are a few of the comments
of its many readers. These — if by chance you
have yet to read the volume — should recom-
mend it to you if its popularity has failed to.
And if you do have a copy of the book, suggest
How to Make Good Movies to friends who
are beginners at movie making. Consider its
value, too, as a movie missionary ... as the
answer to that familiar query, "Tell me —
are movies really as easy as some people say
they are?" For this book not only contains
hundreds upon hundreds of ideas for the man
who has a camera, but is likewise an enter-
tainingly written and readily digestible out-
line of movie technic and movie possibilities.
EASTMAN KODAK COMPANY, ROCHESTER, N.
it's new! It's entertaining
and educational, for adults
and children alike!
YOU haven't enjoyed half the fun of home movie entertain-
ments until you've played Moviquiz! This fascinating
new game is equally suitable for small family gatherings and
for your largest parties. Here's how to play it:
From your Filmo dealer, rent or buy one or more Bell &
Howell Moviquiz Films. Get the Moviquiz Kit (25c) for
each film. It contains rules, quiz sheets, and answers. Ask
each player to indicate the correct answers to the quiz sheet
questions. Then show the film, in which the correct answers
will be found. Afterward, grade the papers and, if you wish,
award prizes. You've never seen audiences study a film as
intently as Moviquiz players do!
B&H Filmosound Library offers scores of Moviquiz Films on
a great variety of subjects. For details, see your Filmo dealer or
send the coupon. Stage a Moviquiz party this week-end!
m I
Your "Lending
Library" of
FILMS
A near-by Lending Library of books permits you to read many
volumes for the price of one. In the same way, your near-by Filmo
dealer's Filmosound Library permits you to entertain at home with
many choice films for the price of one.
Whatever your preferences, you'll find the films you want among
Filmosound Library's thousands: late Hollywood photoplays featur-
ing favorite stars; side-splitting short comedies; whimsical cartoons,
many in full color; travel and adventure films from the world's far
corners; timely newsreels; films on sports and hobbies; and educa-
tional reels on almost any subject.
Three new catalogs, one each on recreational, educational, and
religious films, contain comprehensive reviews which make selection
easy and sure. Catalogs are free to 16mm. sound projector owners,
2 5c each to others. Mark the coupon for the ones you want.
mi^mk
mkjmkM*jatLMkjm*
NEW B&H SERVICE POLICY
Your Filmo Camera and Projector are built to serve you for
life ... if they're properly cared for. To help you give them
that care while replacement would be difficult, we'll keep
them in top-notch condition at moneysaving flat rates.
Ask your dealer for the details.
I
THERE'S A
MOVIE NEED
The Bell & Howell Filmo line is com-
plete— includes 8mm. and 16mm. cam-
eras and projectors, and 16mm. sound-
film projectors, all in a wide range of
models, from the simplest to the most
versatile. For all these major units there
are quality-built accessories for every
purpose, however advanced and spe-
cialized.
Filmo Auto Load. Loads with pre-threaded
cartridges of 16mm. color or black-and-
white film which can be interchanged in
mid-reel without fogging a single frame.
Four speeds plus single-frame exposures.
WithF 2.7 lens, $131.20.
FOR EVERY
Filmo "Companion" 8
Palm-size camera. Makes
superb 8mm. movies iafull
color or black-and-white.
"Drop-in" loading — no
sprockets to thread. Life-
time guarantee! With F 3.5
lens, only $52.80.
Filmo 8mm. Projectors
400- or 500-watt illumina-
tion through fast,F 1.6
lens. Metered lubrication.
"Floating film" protection.
Fully gear-driven, with
power rewind. Complete
with lens, lamp, and case:
200-foot film capacity,
$116.25; 400-ft., $131.20.
Filmosound "Master." A superb, 16mm. sound-film projector, ideal for
presenting modern "talkies" in your home, and with ample capacity to serve
in your club, church, or school auditorium. Readily portable. Shows silent
films, too. Ask your dealerfor his trade-in allowance on your silent projector.
Bell & Howell Company, Chicago; New York; Hollywood; Washington,
D. C; London. Established 1907.
SEND COUPON
for Additional Information
BELL & HOWELL COMPANY
1843 Larchmont Ave., Chicago, 111.
Please send complete details about: ( ) Movi-
quiz Films; ( ) 8mm. cameras; ( ) 8mm. pro-
jectors; ( ) 16mm. cameras; ( ) Filmosounds;
( ) New service policy.
Send catalog on: ( ) recreational; ( ) educa-
tional; ( ) religious films. I own < > sound
projector of make.
Name
City.
MOVIE
Magazine off the Amateur Cinema League, Inc.
* l/aWi Cr&Uinxj, ^ooli
• Sur\c\ ol typical editing equip-
ment now. offered m<
• Hail, British Columbia!
• How the l°-»] Maxim Award win-
ner w as filmed
MARCH. I»42
25«
• WIDE ANGLE LENSES
• \\ h.it they do and how to u»r
them in filming your home,
* TRICKS AND STUNT WORK
• An amateur ^*> extern producer
outdoes I loll v wood s stunt men.
* CANADIAN CONTEST OPENS
Bttonal Film Hoard at t anada
announce;) new movie compel
EVERY NEW MEMBER GETS
The ACL Movie Book
IT'S the latest book on amateur movie making! . . . It's the
biggest book about the subject written in the past decade!
311 PAGES— OVER 100 ILLUSTRATIONS-FRAME
ENLARGEMENTS— PHOTOGRAPHS— DRAWINGS!
INTERESTING — NEW IDEAS — SIMPLY WRIT-
TEN— ACCURATE— COMPLETE— FULL INDEX.
Written by the staff of the Amateur Cinema League — com-
piled from their experiences in serving thousands of movie
makers for over a decade, this book represents the latest
and simplest cine technique. It is based on what amateurs
do. It tells you what you want to know because it comes
from the needs and questions of over 21,000 League mem-
bers— every one a real movie maker.
The new book is packed with information and it
is simply written in an informal style. You will
find it fascinating, and you may be sure that the
information is correct — IT'S AN ACL PUBLICA-
TION.
GET THIS NEW BOOK IN ADDITION TO THE
SERVICES AND PUBLICATIONS LISTED BELOW
ALL FOR $5.00 A YEAR
* MOVIE MAKERS . . . Membership includes a sub-
scription to Movie Makers monthly, which covers
every phase of amateur and practical filming.
Each month there are articles for the beginner as
well as for the experienced movie maker.
it Technical consulting service. . . Any League mem-
ber can put his movie making problems up to the
technical consultant, and he will receive prompt,
detailed service.
it Continuity and film planning service . . . The con-
tinuity consultant will aid you in planning specific
films by offering you continuity and treatment
suggestions, ideas on editing and title wordings.
it Club service . . . Those who wish to organize a
club — either for the production of films or for the
interchange of ideas between cameramen — will
obtain full aid.
it Film review service . . . You may send films to the
League for criticism and review.
it Booklets and service sheets . . . These are available
to all members. Booklets are sent automatically,
as published, to members who request them. Book-
lets now current are:
Color filming — 27 pages, illustrated
Featuring the family — 34 pages
Lighting personal movies — 37 pages, illus-
trated
Films and filters — 31 pages, illustrated
Building a Dual Turntable — 30 pages, illus-
trated
it Equipment service . . . The League aids members
in locating new equipment.
it Film Exchange ... A member may list his films
for temporary loan among other members and will
receive in return a list of films offered by other
members.
it Special services ... in two important fields are
available. Through the Film Review Chart a mem-
ber can get particularly efficient criticism on his
reels. By means of the Film Treatment Chart,- a
member may secure individually prepared film
plans and continuity outlines. These charts are
supplied on request to members only.
AMATEUR CINEMA LEAGUE, Inc.
420 Lexington Ave. Date
New York. N. Y., U. S. A.
I wish to become a member of AMATEUR CINEMA LEAGUE, Inc. My remittance for S5.00.
made payable to AMATEUR CINEMA LEAGUE. Inc.. is enclosed in payment of dues. Of this amount,
I direct that $2 be applied to a year's subscription to MOVIE MAKERS. (To nonmembers, subscrip-
tion to MOVIE MAKERS is $3 in the United States and possessions; $3.50 in Canada. $3.50 in other
countries.)
MEMBERSHIP $5 a year
Name
Street
City State
Mar. '42
GET THESE INDISPENSABLE
FILMING AIDS AT ONCE FOR
Five dollars a
year
Amateur Cinema League, inc
420 Lexington Ave.
New York, New York, U. S. A.
FINE PROJECTION . . .
FULL FILM PROTECTION..
ONE of many reasons why Filmo Projectors
show your movies at their brilliant best is
the precise centering of the lamp filament on
the optical system axis. Without this exclusive
B&H construction, filament location can vary
enough to cause uneven screen illumination
and "color fringing."
One of the many features by which Filmo
8mm. Projectors protect your often irreplace-
able films from damage is the positive, jerk-
free, all-gear drive to feed and take-up spindles.
Gear drive also means no oily belts to handle.
Filmo 8mm. Projector with 200-foot film capacity, complete
with case, $116.25. With 400-foot film capacity, $131.20.
Filmo Projector lamp with B&H pre-focusing
ring, essential to getting all the light to the film
Cover removed to show
positive, quiet gear-
trains which eliminate
spring or chain belts in
Filmo 8mm. Projectors
The Ideal Films for Movie Parties!
It takes the right films to make movie parties successful.
And you'll find just the films you need for arty audience
among Filmosound Library's thousands.
Do you want late Hollywood photoplays featuring
your friends' favorite stars? Riotous short comedies?
Whimsical cartoons, perhaps in full color? Vital news-
reels of the moment? Travel and adventure films? Reels
on almost any popular sport? Musicals and operatic
subjects? Educational films? We have them all, in wide
selections ... in fine physical condition ... at moderate
awe. ..
rentals.
Three new catalogs, one
each on recreational, edu-
cational, and religious
films, contain objective re-
views which make selec-
tion easy and sure. Cata-
logs are free to 16mm.
sound projector owners,
2 5c each to others. Send
the coupon for the ones
you want.
FILMOSOUND "UTILITY." A superb, 16mm. sound-film projector,
ideal for presenting modern "talkies" in your home, and with
ample capacity to serve in your club, church, or school. Readily
portable. Shows silent films, too. Ask your dealer for his trade-
in allowance on your silent projector.
PRECISION-
MADE BY
MOVIQUIZ FILMS
A Partial List
See America First
Puerto Rico.
America's High Spots.
Our Colorful World
Land of the Incas.
Arctic Thrills.
History and Current Events
News Parade of 1941.
Story of Our Flag.
Games and Sports
Bowling Aces.
Ride 'Em, Cowboy.
Hobbies and Handicrafts
Leather Work.
Clay Pottery.
North American Birds
Humming Bird.
Marsh Birds.
BELL & HOWELL COMPANY
Chicago; New York; Hollywood;
Washington, D. C; London
Established 1907
Whether it's a family gathering, an evening
with friends, a children's party, or an occa-
sion at your church or club, everyone will
have a wonderful time playing Moviquiz.
This fascinating and educational new game
combines the popular appeals of two great
forms of entertainment— the motion picture
and the radio quiz program.
Staging a Moviquiz party is easy. Simply
rent or buy one or more Bell & Howell Movi-
quiz Films from your Filmo dealer. Get the
Moviquiz Kit (2 5c) for each film. It con-
tains rules, quiz sheets, and answers. Ask
each player to indicate the correct answers
to the quiz sheet questions. Then show the
film, in which the answers will be found.
Afterward, grade the papers and, if you
wish, award prizes or require losers to en-
tertain winners in amusing ways.
Moviquiz Films cover a diversity of inter-
esting subjects, some of which are listed
here. For complete details, see your Filmo
dealer or send the coupon.
SEND COUPON FOR COMPLETE DETAILS
BELL & HOWELL COMPANY
1843 Larchmont Ave., Chicago, 111.
Please send complete details about: ( )
8mm. projectors; ( ) Moviquiz Films;
( ) Filmosounds.
Send catalog on: ( ) recreational; ( )
educational; ( ) religious films. I own
S j projector of make.
sound
Name
Address
Cify •^••••mms-k
it
500
and
ALL EXPENSE
TOURS
See below
COME to CANADA
HERE'S A MOVIE CONTEST
THAT'S A WONDERFUL VACATION!
Accept this invitation from out friends
and allies to visit their glorious vaca-
tionlands, rich in filming possibilities.
Enter a movie contest with prizes
worth shooting for!
These Provinces Offer Attractive Choices
BRITISH COLUMBIA. Beautiful British Columbia offers, as a prize to the amateur
whose film is adjudged the best on that spectacular Province, an all-expense tour
in 1943 for two persons, to the total value of $500. The winner will have the choice
of several enthralling tours.
QUEBEC. This old French Province offers, for the best film, an all-expense tour of
three weeks for two persons in 1943. The tour will be arranged to cover the highlights
of the Province, with sojourns in the cities of Montreal and Quebec.
NEW BRUNSWICK. Amateurs competing for the 16mm. color prize in this Province
will have incentives in the form of one or two possible 1943 prize tours of three weeks
for two persons in this scenic Province. One of these will embrace general scenic and
other attractions, while the other will offer a canoe camping trip on one of New
Brunswick's great salmon angling streams.
PRINCE EDWARD ISLAND. This attractive island Province offers a prize for the
best film in the form of an all-expense tour for four weeks during the summer of
1943, for the prize winner and husband or wife. Salt water bathing and delightful
trips through the scenic countryside.
CONTEST RULES- READ CAREFULLY
HHBHH
BRITISH COLUMBIA
QUEBEC
NEW BRUNSWICK
PRINCE EDWARD ISLAND
1. The contest will be open to all amateur
movie makers residing in the United States.
It is not open to amateur movie makers resid-
ing in the territories and possessions of the
United States, nor to American citizens resid-
ing in Canada. It is not open to anybody en-
gaged in the theatrical production of motion
pictures.
2. The contest will extend from March 1st to
5 P. M. (Chicago war time), November 15th,
1942.
3. Entries may be made on 16mm. silent film
only, but the film may be either black and
white or color.
4. Entries must be at least 400 feet in length,
and at least two thirds of the completed pic-
ture must consist of scenes taken during 1942
within the borders of one of the four cooper-
ating Provinces of Canada (British Columbia,
Quebec, New Brunswick, and Prince Edward
Island) or of titles referring to these scenes.
The remaining footage may consist of any ap-
propriate material, such as scenes of travel
to or from Canada or scenes of other Cana-
dian Provinces. Thus, to compete in this con-
test, an amateur movie maker must select one
of the four cooperating Canadian Provinces
as his principal subject matter and to this
Province he must devote two thirds of the foot-
age of the finished picture. The remaining film
footage may be such as best suits the particular
continuity or film idea that the contestant has
chosen.
5. Competitors may choose for the subject of
their films any scenic, geographical, industrial,
or community topic, or any recreation or sport,
so long as the subject matter relates to the
competitor's own travels within the borders
of the one of the four Provinces that he has
selected.
6. Entries will be judged upon the basis of
good movie technique, film continuity, and in-
terest of subject matter.
7. The cinematography of each film must be
the work of the contestant who enters that
picture, except that titles may be the work of
professional or commercial studios.
8. Contestants may enter films of more than
one Province, providing that each film meets
all the requirements of the contest rules.
9. Entries must be shipped, prepaid and prefer-
ably insured, to: National Film Board of Can-
ada Contest, care Canadian Trade Commis-
sioner, Tribune Tower Building, 435 North
Michigan Avenue, Chicago, Illinois. U.S.A.,
and must be in the offices of that company by
5:00 P. M. (Chicago war time) November 15,
1942.
10. The board of judges, whose decisions
shall be final, will be composed of the follow-
ing: John Grierson, Canadian Government
Film Commissioner; Alfred Hitchcock, well
known Hollywood director; Arthur L. Gale,
editor of Movie Makers.
11. All entries will remain the property of the
contestants, but the National Film Board re-
serves the right to make copies of all prize
winning films and to arrange for the use and
distribution of such copies, in any manner
that it sees fit.
12. Entries will be returned prepaid and in-
sured by the National Film Board, either by
express or parcel post, as soon as possible fol-
lowing the judging of the contest, and the
prize winning films and their makers will be
announced publicly on December 31. 1942.
13. Phonograph records for musical accom-
paniment cannot be received. Narrations or
written commentaries cannot be read in con-
nection with the screenings for the judges and
therefore will not be considered. Sound on
film pictures are not eligible, but any entry
may be taken at a camera speed of twenty-
four frames a second for post synchronization
after the contest.
14. The five awards will consist of one first
prize of $500.00 and four all expense tours
within Canada during the year 1943.
One prize will be granted by each of the
four co-operating Provinces for the best film
about that Province, the prize consisting of a
free tour for two persons within that Province.
There will be. in addition, a cash prize of
$500.00, given by the National Film Board, to
the film considered by the judges to be the
best of the four films winning the free tours of-
fered by the Provinces concerned.
In all 'Cases, the prize tour starts within each
particular Province. Neither the Provinces of
Canada nor the National Film Board can
undertake to pay the expenses of the prize
winner and his companion from the United
States to the point of departure nor from the
point of departure to the United States on the
return trip.
DECIDE NOW! WRITE FOR DESCRIPTIVE BROCHURE TO
NATIONAL FILM BOARD OF CANADA
OTTAWA
CANADA
93
MOVIE MAKERS
The Magazine of the Amateur Cinema League, Inc.
Volume 17
March, 1942
Number 3
Closeups 98
War needs, editorial 99
Hail, British Columbia! Leo J. Heffernan, ACL 100
What England films in war Eric F. Impey 102
What wide angle lenses do Russell C. Holslag, ACL 103
Your editing tools 104
How we made "The Black Rider" Louis McMahon, ACL 106
Practical films Gordon L. Hough 108
Amateur clubs James W. Moore, ACL 109
News of the industry Russell C. Holslag, ACL 112
Canadian contest opens 113
The clinic Kenneth F. Space, ACL 114
A bookcase editing desk Borden R. Putnam, ACL 116
The new ACL leader 123
A three family film 125
Films you'll want to show 129
Free film reviews ,,....,.. 130
F. P. G.
ARTHUR L. GALE,
Editor
RUSSELL C. HOLSLAG
Advertising Manager
JAMES W. MOORE
Continuity Editor
KENNETH F. SPACE
Technical Editor
ALEXANDER de CANEDO
Art Editor
is published monthly in New York, N. Y.. by the Amateur Cinema League, Inc.
Subscription rate $3.00 a year postpaid (Canada and Foreign $3.50); to members of the
Amateur Cinema League, Inc., $2.00 a year, postpaid; single copies 25c (in U. S. A.). On
sale at photographic dealers everywhere. Entered as second class matter, August 3, 1927,
at the Post Office at New York, N. Y., under act of March 3. 1879. Copyright, 1942, by the
Amateur Cinema League, Inc. Title registered at United States Patent Office. Successor to
Amateur Movie Makers, title registered at United States Patent Office. Editorial and
Publication Office: 420 Lexington Avenue, New York, N. Y., U. S. A. Telephone MOhawk
4-0270. Advertising rates on application. Forms close on 10th of preceding month.
CHANGES OF ADDRESS: A request for a change of address must reach us at least by
the twelfth of the month preceding the publication of the number of Movie Makers with
which it is to take effect. Duplicate copies cannot be sent when a number of the magazine
does not reach you because of failure to send in this advance notice. The Post Office will
not forward copies unless extra postage is provided by you.
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MARCH 1942
CHffl
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SCREENS
What is probably the most extensive,
unbiased survey ever made of the
buying habits of camera fans was
recently completed by a prominent,
large-circulation photographic maga-
zine. Thousands of readers were asked
which makes of screens they owned.
The replies showed:
THESE READERS OWN MORE
DA-LITE SCREENS THAN ALL
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You, too, will want the superior per-
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efficient mountings — and the longer
service of Da-Lite's sturdier construc-
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33 l/eate
Closeups — What filmers are doing
Mrs. Louise C. Mann, ACL, in a
scene in her picture of Alaska
I o Mrs. Louise C. Mann, ACL, of New
York City, goes the honor of being the
first of hundreds of patriotic personal
filmers to register with the Amateur
Cinema League their willingness to
turn their cinematic skill and equip-
ment to the service of the government.
A veteran traveler, Mrs. Mann is seen
in our illustration in the fur parka of
the Alaskan Indian, as pictured in her
own thoroughgoing study of that far
northern territory.
Dr. Otto J. Seifert. ACL, of New Ulm,
Minn., is in the market for 16mm. color
footage of Cuba, New Orleans, Mexico
and Yellowstone National Park. If you
have extra scenes that you would care
to part with, here's your chance for a
friendly sale or exchange. Address your
offers directly to Dr. Seifert.
I f you are eager to aid the cause of
Civilian Defense with your camera —
but don't know where to turn — George
Vidor. in New York City, is the man
you want to see. As senior warden of
A.R.P. Post 6. Sector E, in Manhattan.
Mr. Vidor has ideas on defense film
production but no camera with which
to film them. He may be reached at the
post address, 159 West 80th Street, New
York City.
During the late First Army maneuvers
in the Carolinas, Lieutenant Robert M.
Pursel, ACL. of the 30th Ordnance
Company, was one officer who saw to it
that his battalion had some entertain-
ment in the quiet hours of the evening.
Using an Army truck with a 110 volt
generator, he simply set up his own
16mm. projector under the stars and
ran off more than 2800 feet of his per-
sonal travel films, taken in Venezuela
and the Central Americas. During the
davtime. as opportunity offered, he
managed to shoot a thousand feet of
film, recording the war games.
Filmers in Florida who are interested
in getting some real New England snow
scenes are invited to get in touch with
Hartman D. Colton, ACL, 53 Sunapee
Street, Springfield, Mass., who is in the
"swap" market for a series of views of
Floridan industries. Mr. Colton's par-
ticular interests are in the citrus and
sponge industries, the cypress gardens,
scenes about Miami and the life of the
colorful Seminole Indians.
Movie makers in this country who are
aiding the war effort have got to go
some to catch up with the record set
by C. V. Thomas, ACL, and the Dur-
ban Amateur Cine Club, in Natal. South
Africa. In a recent report to League
headquarters, Mr. Thomas states that
the club has already collected for war
charities more than a thousand dollars
from subscription screenings of ama-
teur films, besides giving countless free
shows in military hospitals. Another and
unique filming activity undertaken by
a group from the Durban club has been
the compilation of a large number of
individual ten second shots of wives,
relatives and sweethearts of South
African troops fighting on the Libyan
front. Charging fifty cents a "take," the
producers collected over five hundred
dollars, which, save for the cost of the
film stock, was expended on comforts
for the men. With this shipment, they
sent, as well, the completed film as a
personal greeting from the folks back
home.
Oymbols of Hospitality is the heart
warming title which the Reverend Fred-
erick W. Smith. ACL, of Waterville,
Maine, has given to his 400 foot study
of New England doorways. Although
not essentially a cinematic subject,
these emblems of an older age have a
strange charm in their gracious mes-
sage of classic beauty and tradition.
Mr. Smith's camera collection of door-
ways and related architectural features
ranges through Portland, Brunswick,
Bath. Augusta. Wiscasset, Thomaston
and Camden, in Maine; Andover, Low-
ell, Chelmsford. Stillwater, Littleton,
Bradford and Merrimac. in Massachu-
setts; and Portsmouth, in New Hamp-
shire.
Shot in "Symbols of Hospitality,"
film by Frederick W. Smith, ACL
99
THE response to the service questionnaire of the
Amateur Cinema League has been good. Movie
makers want to aid in the country's war effort. The
larger registration, the better. If you have not sent in
your questionnaire, do not hesitate. Give the League
a statement of what you can do, if you are called upon
to do it.
Many clubs and individual League members are serv-
ing their communities already by making films that
are needed in local war activities. The League wants
reports of these instances, wherever they occur. If you
have done this kind of filming and have not reported
the details to the Amateur Cinema League, please let
us know, so that our files will be as complete as pos-
sible.
League headquarters are in discussions with several
agencies of our government concerning assignments
that may come to us for specific war work in connec-
tion with personal movies. As soon as the discussions
come to something definite, the news will be carried in
Movie Makers.
/our local dealer will tell you how to help him to
help the amateur movie industry in saving camera
spools, light metal projection reels and other movie
and photographic containers and spools. At a time
when saving is imperative for war purposes, it is the
duty of every user of these supplies to see that they
are used many times and that they are not thrown
WAR NEEDS
away. By establishing a collection bin, cine clubs can
make their own contribution to this saving plan and,
at the same time, make a handsome profit for the club
treasury. The procedure was outlined in February
Movie Makers, on page 86. Admittedly, it is incon-
venient to put forth this effort, because we have be-
come accustomed to a land of plenty. However, con-
ditions have changed in the United States since
December 7, and we must all determine to do what-
ever we can do, each in his own personal fashion, to
conserve necessary material for war use. Certainly, it
is important to us all, as movie makers, to make cer-
tain, as far as we can do so, that any shortage in these
minor — but vital — items does not result from our un-
willingness to bother about saving them.
I his war has made a field day for the cine "gad-
geteer." The shortage of equipment of all kinds which
has been plentifully at hand in our normal life in the
past has made the home designer and maker an im-
portant person in the industrial picture. It was hu-
morously said of a great motor car builder that he
"took a little spool and an old coal hod" and did won-
ders with them. That is exactly what a lot of us will
have to do now in the field of our hobbies. Look over
your junk collection in the attic, or in the urban
equivalent of an attic, and see what you can make
from it to serve your filming. Let us know what you
make. We want Movie Makers to serve for the ex-
change of ideas among movie amateurs about this very
necessary activity.
The AMATEUR CINEMA LEAGUE, Inc.
whose voice is Movie Makers, is the international or-
ganization of movie amateurs, founded in 1926 and
now serving filmers in many countries. The League's
consulting services advise amateurs on plan and execu-
tion of their films, both as to cinematographic tech-
nique and continuity. It serves amateur motion picture
clubs in organization, conduct and program and pro-
vides for them a film exchange. It issues booklets. It
maintains various special services for members. The
League completely owns and operates Movie Makers.
The directors listed below are a sufficient warrant of
the high type of our association. Your membership
is invited. Five dollars a year.
Hiram Percy Maxim, Founder
DIRECTORS OF THE LEAGUE
STEPHEN F. VOORHEES, President
JOHN V. HANSEN, Vice President
ETHELBERT WARFIELD, Treasurer
C. R. DOOLEY
MRS. L. S. GALVIN
H. EARL HOOVER .
HAROLD E. B. SPEIGHT
FLOYD L. VANDERPOEL
T. A. WILLARD
ROY W. WINTON, Managing Director
• New York City
Washington, D. C.
New York City
New York City
Lima, Ohio
Chicago, 111.
Ithaca, N. Y.
Litchfield, Conn.
Beverly Hills, Calif.
. New York City
Address all inquiries to
AMATEUR CINEMA LEAGUE, INC.
420 LEXINGTON AVE.. NEW YORK CITY. U.S.A.
Amateur Cinema League offices are open from
9:00 A.M. to 5:00 P.M., Mondays through Fridays
16mm. scenes by Leo
J. Heffernan, AQh
• Typical subtitle and
the girl and the "Moun-
tie" in "Hail, British
Columbia!"
100
How Maxim Award winner
was planned and filmed
• Heraldic device and t<vo
of the scenes in the log-
ging sequence.
HAIL, BRITISH
UNQUESTIONABLY, it was an unusually happy inspiration
last year which turned my thoughts toward British Columbia
as a vacation land. Early in July, I made the train journey from
New York City to Vancouver, and this was the beginning of a
trail which led eventually to the end of a movie maker's rainbow,
for, during my travels, Hail, British Columbia! was made. When
I was filming it, I scarcely dared to dream that it would be chosen
for the Hiram Percy Maxim Award.
At Vancouver, I took the ship Princess Elizabeth which, four
hours later, steamed into the Harbour of Victoria on Vancouver
Island, and, in a quarter of an hour, I was shooting Kodachrome
movies of the baskets of colorful flowers which hang from the
electric light poles in the capital of British Columbia — after which
I made shots of the magnificent Empress Hotel and its famous
gardens.
On the other side of the tiny harbor, I filmed the Parliament
Buildings, and it was there that I stumbled upon the offices of the
Official Travel Service, a fortunate find for me, since I never lose
an opportunity to browse through travel literature.
When one is traveling, he can save time and energy by using
travel literature as a guide to movie subjects. It is immeasurably
helpful, also, to have a plan of action outlined by a skilled travel
consultant who has been over the ground so often that he can give
you pertinent data, such as, for example, information as to whether
a particular scene is a "morning shot" or an "afternoon shot."
Before I left the travel bureau, I knew just how I was to spend
the next four days, weather permitting.
1 wanted to produce a really good movie —
something far removed from the "run of the
mill" scenic film, of course. (Everybody
wants to get away from that ! )
So, I planned to utilize the natural beauties
of British Columbia only as a backdrop for
human activities of one sort or another. I was
determined that a continuous thread of action
would connect the entire footage, and, during
the train ride from New York, I wrote a plan
involving a Canadian "Mountie" and a young
lady traveler. The basic idea is that the girl's
transcontinental train stops for a while at a
station somewhere in Canada, and the young
lady alights to stretch her legs and perhaps
to pick up some information concerning the
Province that she is about to visit.
She sees a tall chap in a bright red coat
and asks him what there is to see in British
• Leo J. Heffernan, ACL (left), producer of "Hail,
British Columbia!", holds replica of Hiram Percy
Maxim Memorial given to him by Roy W. Winton, ACL,
managing director of the Amateur Cinema League.
Russell C. Holslagr, ACL
nan, ACJ
101
OLUMBIA!
LEO J. HEFFERNAN, ACL
Columbia, and the "Mountie" very obligingly does his best to describe the
most interesting places to visit. When he mentions a point of interest, the
scene shifts by a wipeoff or lap dissolve to the footage of that particular
place. Naturally, the scenes representing his description of various local-
ities were the shots that I made during my travels.
I knew that this continuity motif would be rather commonplace unless
I could build it up to a surprise at the end; so, the picture ends with a
simple "twist," which I think is rather delightful, but I shall not divulge
it, because, if it became generally known, it would rather spoil the picture
for those who see it for the first time.
After I had developed my plan, I saw that my work was clearly cut out
for me, and I knew that it would take some little organizing, for I wanted
a fair number of "knockout" scenic shots peopled with interesting actors.
Every scene would have to be planned, then rehearsed over and over again
until it was right. Then, somewhere in my travels, I hoped to stop in a
town where Royal Canadian Mounted Police were stationed and where,
with a great deal of luck, I might
be able to shoot the connecting
scenes of the "Mountie" and the
girl which I had planned. This
was a rather ambitious program
for a three week sojourn in a
strange land! Praise be, I had the
• Left, frames from the
horseback and bicycle
riding sequences.
• Right, shots of vaca-
tion spots in Canada
and frames from human
interest sequences.
luck of the Irish, for the weather on every single day was
perfect.
After I left the Travel Office in Victoria, I hired a light
truck for a ridiculously small sum, mounted my Cine-
kodak Special on a tripod and "planted" the tripod legs
firmly on the floor of the truck. Shooting over the shoul-
der of the driver, I instructed him to drive about the city.
The truck had poor springs, and the vibration was little
short of alarming, but the moving camera shots that I
made in the streets of Victoria appear to be smooth on
the screen. It was late in the afternoon when I finished
that chore but, shortly after daybreak the next morning,
I was at it again, making [Continued on page 117]
102
WHAT ENGLAND FILMS IN WAR
ON THE outbreak of war in England, an official list
of prohibited subjects for photography was issued
by the appropriate authorities. After examining it care-
fully, "still" men and movie makers alike gave a small
cheer, because the list was so lenient. It included only
items of obvious military importance, and it seemed to
leave so many of our old subjects and backgrounds un-
impeded. Little did we guess then that our hopes were
ill founded — as you will be able to judge from the expe-
riences of a friend of mine.
My friend, a keen movie sharpshooter, was snooping
around an old town near our east coast, looking for a
good aspect of a shot he wanted — a millstream and an
ancient mill wheel — and, having found the very thing
that he was looking for, he proceeded to unleash the nec-
essary footage. But — aha! The villain shall not do his
dastardly work uninterrupted! In fact, in the middle of
shooting, he was stopped by an officer in uniform.
"What foul crime have I committed?" cried the movie
man. To which the officer replied that there was a pro-
hibited view behind him.
"But I have not filmed the prohibited subject," said
. my friend.
"Well, that's what you say," said the officer. "How do
I know that you are speaking the truth? In my expe-
rience, spies, bank robbers, murderers and politicians
don't usually tell you what they are up to."
Anyway, the long and the short of it was that the film
was confiscated there and then, although it was returned
later, when it was found to be innocuous.
So you see that in England it may be dangerous to be
seen even handling a camera fondly, as you may be
hailed off to the local jail and incarcerated until Hitler's
patience is exhausted about you — or possibly rather
longer !
The point is that, although there is an official list of
subjects, the interpretation of the list rests with the in-
dividual official, and it is clear that, on a strict inter-
pretation, the authorities could (and sometimes do) take
steps to prevent photography in the vicinity of anything
that is prohibited. The sum result is that the ban is more
extensive than the list implies, and it is desirable only
to shoot where there is obviously no military activity.
This fact means that our outdoor cine work of all kinds
is largely confined to the countryside.
For this reason, there is a great revival of interest in
the nature subject, a fact which, in itself, is a very good
thing. There are innumerable subjects around us at all
seasons of the year which make elegant movie subjects
and which do not require any special preparation at all
beyond writing a suitable shooting script. The life of a
tree or of a stream, the lambing season, spring and so
on — a thousand and one subjects are still available
which, more often than not, are overlooked in the usual
way. We in England are forced to seek such subjects now,
but the fact remains that they are equally suited and
equally available to the movie maker in any country.
In spite of regulations
cine filmers still shoot
ERIC F. IMPEY
to all intents and purposes
taking advantage of
Indoor movie making is
unrestricted, but many of us are
the definite lull in outdoor work, to shoot titles for some
of our earlier films — and that is something for which
to thank Heir H.
Over a period of years, every movie enthusiast accu-
mulates a selection of shots which do not fit the arrange-
ments for any of the planned epics. The spare time avail-
able today is being used to edit and title these oddments
into presentable films, often of the family newsreel type.
This, again, is a precedent which other movie makers
might do well to follow.
Amateur movie makers are already making themselves
felt in the newsreels. The men of the British Navy
(although not of the Army) are permitted to take photo-
graphs, provided that the prints are submitted to the
censorship of their commanding officer, and we have
already seen a newsreel film that was taken by a naval
officer on the high seas, of bombs being dropped by air-
plane around another vessel. This film, taken on amateur
stock, was enlarged to 35mm. film size, frame by frame,
by the newsreel company which purchased it. It seems
that movie enthusiasts should join the navy!
As one can understand, in general, there is less ama-
teur movie activity in England than before the war, but
in the projection field things are waking up. The thou-
sands of persons standing by for purposes of civilian
defense are being entertained in slack periods with pro-
grams of substandard films. For these shows, silent films
are more popular than are talkies, because of their lower
cost. Hence our A.R.P. squads are frequently entertained
by the films of that little man who really originated that
small black moustache as a comedy accessory.
Finally, we sometimes feel that this war may expire by
being photographed to death. The wars of the past have
been recorded mainly by the written word, and even the
World War was by no means comprehensively pictured.
On the other hand, this new war is being filmed almost
as much as the new baby!
Newsreel sequences of town councillors opening works
of civilian defense, of heavy tanks, of beautiful girls in
A.R.P. uniforms doing nothing in particular and of bat-
tleships ploughing their way through the waters of the
ocean are being filmed. So many movies are being made
that one cannot help but wonder what will be the reaction
of the generations that are to come if they ever do see
these efforts.
Perhaps Councillor Brown in his derby hat will be as
funny to them as
knows?
the Marx Brothers are to us! Who
103
WHAT WIDE ANGLE LENSES DO
WE ARE often concerned with distance measure-
ments from camera to subject, but we do not often
reflect that each of these distances carries a companion
measurement which is of the utmost importance in pic-
ture making. This is the distance across, from one side of
the scene to the other. When we point our camera at any
subject, we immediately establish the stage of action and
set up invisible "wings" which mark the left and right
hand boundaries of our invisible stage.
The distance between these wings is flexible, for they
draw farther apart when the camera is moved away from
the subject, or come closer together when the camera
approaches it. This fact gives all the leeway that one
might desire if there is plenty of space to enable one to
take advantage of it, by moving toward or away from
the subject. But, if you have only one lens for your
camera and if you are forced by architectural or geo-
graphical circumstances to remain at a fixed distance
from your subject, the distance between your stage wings
remains immovably fixed.
Perhaps this appears to be a complicated way of say-
ing that the lens takes in less area when one moves nearer
the subject and more when one moves farther away from
it. Perhaps so. But the point is made emphatically to
stress the fact that there is a way of altering, the width of
your scene of action without moving the camera. This
action can be done by the use of lenses of focal lengths
other than "normal." When the field of view is to be
widened, a lens is used which will focus a sharp image
when it is placed nearer the film. It does not require
much knowledge of plane geometry to imagine
a simple sketch which will show what happens
in such a case. A short focus lens just naturally
must include a wider field of view. And this
property comes in mighty handy when there is
a "tight squeeze" in setting up the camera.
Perhaps the most crucial example of such a
tight squeeze is encountered when one takes pic-
tures in an ordinary apartment or small home.
Unless the rooms are laid out purposely to fur-
nish those vistas beloved of interior decorators,
difficulties may appear. The movie maker will
optimistically begin to back away from that
group before the fireplace, and he will keep on
backing until further retreat is cut off by the
opposite wall. Then, on peeping through the
finder, he may discover that his scope of action
is so woefully limited that he will have to "pano-
ram" every time that Madge hands Bill a toasted
marshmallow. And that will not do at all.
Still supposing that he has but one lens, the
movie maker can go out into the hall, unhook
the full length mirror from its place and stagger
in with it. He can then prop it up carefully in
the living room, so that it reflects the action into
the camera, and he may shoot the scene in this
way. In such a manner, it is possible to get the
Advantages which home
filmers get from them
RUSSELL C. HOLSLAG, ACL
effect of extra distance in cramped quarters. But it all
seems hardly worth while for a simple marshmallow
sequence, and the chances are that, faced with difficulties
such as these, the cameraman will be inclined to let this
and similar scenes go unrecorded.
But, with the wide angle lens, such situations are
greatly alleviated. This fact becomes plain when it is
seen that the angle included by the normal 25mm. lens
on a 16mm. camera is approximately twenty one degrees,
whereas that included by the 15mm. lens is about thirl)
seven degrees. In these references, we are discussing only
the horizontal limits of the picture; these limits form the
horizontal included angle when straight lines are drawn
from them to the center of the lens. As a matter of fact,
most of the problems which a wide angle lens is called
upon to solve are concerned with the width of the picture
and not its height.
In 16mm. cameras with interchangeable lens mounts,
the wide angle lens may be used practically at will. To
give a widened field of view without changing the camera
position, two focal lengths are generally available, the
20mm. and the 15mm. The latter, however, is the more
[Continued on page 120]
• With a wide angle lens, you can get a representative shot of
the birthday party.
Hobart Photo Features
1. The Keystone Security Film
Splicer is operated by the application
of a patch, without scraping. 2. This
firm's Illuminated Editor and Splicer
provides a compact assembly mounted
on a board. The manufacturer is Key-
stone Manufacturing Company.
104
EDITING and titling are one of the many phases of movie making
that are nowise affected by wartime. It is fun to edit, if you
have the right equipment for the job. The work itself is restful, and
it is inspiring to see what you can do to a film, by eliminating the
poorer scenes and by rearranging shots into sequences. The longer
that you make movies, the more you know about them, and you can
always improve an old film by reediting it in the light of your pres-
ent knowledge.
Here is a survey of high lights of some of the editing equipment
on the market today — there are many other excellent outfits, both
simple and complex. This presentation simply gives you a general
idea of the varieties and range of the equipment available. If you
need new editing equipment, now is the time to buy it.
044/1
5. The Kodascope Rapid Rewinds,
Movie Viewer and Universal Splicer,
all available separately, here are
mounted on a single sturdy base, to
provide complete facilities for editing.
The Movie Viewer shows the picture in
full motion on a miniature screen and
has a notching device to identify frames.
It is available in 8mm. and 16mm.
models. This equipment is a product
of the Eastman Kodak Company.
3. F-R editing aids include the com-
pact and efficient Film Splicer for
8mm. and 16mm. films, with incorpo-
rated scraper. The F-R Cine Action
Editor (4) provides a means for in-
specting film, in full motion, brightly
illuminated under a magnifier. It is
available in 8mm. and 16mm. models.
Makers are Fink-Roselieve Company,
Inc.
arnm i mil iiitMMitl
6. The B & H Film Splicer, Model 136, is a rugged and
efficient mechanism which makes a diagonal splice. At 7 we
see this splicer used with the B & H 16mm. Filmotion Editor
into which one inserts the film, simply by lifting the hinged
cover at the top. The picture
is shown in full motion on the
inclined viewing screen. The
complete B & H 16mm. Film
Editor (8) combines the
Direct Viewer, Splicer and
geared rewinds. The manufac-
turer is the Bell & Howell
Company.
The Franklin Splicer (9)
will efficiently join 8mm. or
16mm. film, singly or doubly
perforated. The Clutch-Type
Rewind (10), made by this
firm, allows the rotating spin-
dle to be disengaged at will.
These items are products of
Franklin Photographic Indus-
tries, Inc.
105
tom/l
Some items of the interesting line of a
firm which specializes in this type of
apparatus are the Craig Senior (11) and
Junior (12) splicers for 8mm. and 16mm.
film, the Junior (13) and Master (14) re-
winds, the Craig Projecto-Editor (15),
which shows a continuous motion picture
on the miniature screen as the film is
wound through, and the 8mm. Enlarg-O-
Editor (16), which enables one to inspect
8mm. films and to enlarge selected frames
through the use of a built in camera. All
this equipment is manufactured by the
Craig Movie Supply Company.
Neumade equipment is professional
in design and construction. Outstand-
ing items in this company's film han-
dling line include Neumade Rewinds
(17), for use with 1600 foot reels or
smaller ones; the Griswold splicer (also
shown at 17) ; 16mm. film measuring
machines for footage measurement,
frame counting and synchronizing
sound and picture film (18) ; the Neu-
made Film Cleaner (19), which will
handle 1600 foot reels and which is en-
tirely automatic in operation. The
manufacturer is Neumade Products
Corporation.
106
the B\acV
in °Pe
• Left. tn,e :M. doub\e
Rider
jb\e
n"m9
v iVe * a\\\S«
Wmsei
exposure « ■ ° rf ^ ,
sequence m
D\oirs.
photogra?
hs bv
"Re g'm
ald iyic^ahon
BLACK WD»
LOUIS McMAHON, ACL
TRY to convince somebody who has never used a movie camera that an
amateur could make a full fledged Western drama, and you will discover
that the uninitiated believe that such pictures can be produced only in Holly-
wood. Amateur actors are not expected to be able to climb ropes, ascend
cliffs, fight outlaws, jump across chasms and fall off horses. But, believe me,
they can — if you handle the camera right! Cine ingenuity will take the place
of real gymnastic ability.
In our latest Western, The Black Rider, I am supposed to climb a twenty
foot rope after an outlaw. Instead of worrying about straining my muscles, I
climbed down the rope, and the scene was filmed with the camera held upside
down. When this scene was turned end for end and spliced into the picture,
I look like a veteran stunt man. While I climbed downward, I remembered
to look upward, and the result is so natural that nobody has oried "Fake!"
yet.
Holding the camera upside down in filming a fight scene also helped to
give the picture "punch." The knockout blow in a fight should be especially
forceful; so, one actor held his fist against the lens and then pulled it away
sharply, as the camera, which was held upside down, recorded the action.
This scene was spliced into the picture to represent the point of view of one
of the fighters and, of course, since the action was reversed by the upside
down camera, the audience sees a fist crashing toward it, as the fighter
would seem to see it.
In another case, reverse action came to our rescue. The hero's "pal," a big
fellow who was always willing to fight, grabs each of two villains by the neck
and bangs their heads together. I have seen this effect on the theatrical screen,
but it is never very convincing, since it is apparent that the actor is sparing
the heads of his victims. However, we did it by having the big fellow
first hold the heads of the two villains together; then he wrenched
them apart sharply. Filmed in reverse motion, the crash of the pair
of heads is entirely satisfactory. If we had filmed the shot at a speed
of eight frames a second, the result might have been even better.
On the other hand, the action might have been too violent.
Shooting at half speed is very effective in filming fight scenes,
but one must be careful. If the movements of the actors are not
smooth, half speed will make the action appear to be jerky on the
screen. It is best to take the action twice, once at half speed and once
107
Clever movie tricks that
served in ambitious film
at normal speed. Then, in editing, you can replace sec-
tions of half speed that seem jerky with lengths of the
same action that was filmed at normal speed.
Half speed solved another problem for us. The hero
of The Black Rider has many occasions to be '"quick on
the draw," and, although I have studied detailed sketches
of the fast gun draw that was practiced by the fighters
of the old West. I have never achieved anything that
looks fast enough. Half speed did the trick, and, on the
screen, our gun draws look like the "real McCoy."
Half speed combined with cutting and reverse motion
can produce a thrilling sequence without danger to the
actors. In Pals of the Plains, we wanted two fellows to
fight at the edge of a steep cliff. The villain was to get
knocked off and tumble down the cliff. The cliff was
high, and scuffling back and forth at its edge could be
really dangerous. So our actors stood as near the edge
as their nerves allowed and exchanged slow and gentle
blows. This action was filmed at half speed, with the
result that, when you see the picture, you expect one of
I he boys to tumble off at any time.
At the climax of the fight comes the scene of the fist
crashing toward the audience; then, in an upward angle.
you see the villain falling. The background of this shot
is simply sky, and the audience does not realize
that the action was, in reality, filmed on a perfectly
safe ledge. This shot was followed by the scene of
a dummy tumbling down the jagged cliff front,
and our sequence was complete.
In The Black Rider, the outlaw runs up a cliff to
escape. Near the top, he slips and falls off.
This lime, I used no dummy. We made a
rocky, gentle slope look like a steep cliff by
Jilting the camera. The outlaw crawled along
the ground and. at a certain spot, he stood
straight up and fell backward out of the
scene. A short flash of his fall through the air
is followed by a closeup that represents
the hero watching him fall. When we
filmed the latter scene, we threw a rock
from a high cliff, and the hero watched it
fall. Hence, in the scene, he has the right
expression, and his eyes seem to follow the
hurtling body of the villain. The final shot
is of the Rider's broken body lying among
jagged rocks at the bottom of the cliff.
The secret "hideout" of the villain is supposed
to be surrounded byr steep cliffs. In the local
"mountain range," we discovered an abandoned
rock quarry below which were dilapidated build-
ings that made a very Western like bandit strong-
hold. Actuallv, the cliffs are broken by a civilized road,
leading to a village main street; but, by carefully choos-
ing camera viewpoints, we were successful in creating
the illusion of the rugged West. Everyr outlaw's strong-
hold must have its secret entrance. We used two shallow
caves. One, covered with bushes, was used for the en-
trance, and the other, among rocks, was used to repre-
sent the exit into the quarry. The fact that the two caves
are not connected and certainly do not penetrate the cliffs
never seems to dawn upon the audience, and they^ take the
entrance in one and the exit from the other as a sure
guarantee that the caves form a connected tunnel.
In the final gun battle, the hero, to get behind the
outlaw and to make the capture, climbs a cliff, which
surrounds them. Climbing the cliff and getting behind
the outlaws were easy enough; but. once behind them,
the hero had to get down. Just to climb down again
would not give action that was [Continued on page 120]
ft.
4&&
108
• Scenes -from "Listen —
It's FM!", Kodachrome
sound film produced by
Sales Education Section ot
General Electric Company.
PRACTICAL
FILMS
FM Simplified
Released in November by the General Electric Com-
pany is Listen — It's FM!, an 800 foot sound film. The
movie was produced by the Sales Education Section in
Bridgeport, Conn!, under the supervision of Wilfrid D.
Galpin. On 16mm. color stock, the film shows a salesman
explaining to a prospective buyer the many advantages
of the new frequency modulation system of broadcasting.
With a simple narrative and unusually good use of ani-
mation, Listen — It's FM! makes clear even to the least
scientifically minded person the principles of the FM
system. Hence, while intended originally for use solely
within the company, the film is now being distributed
freely — for details, consult the Free Film Reviews. The
original story was written by C. H. Bell, the technical
advisers were H. J. Deines and E. F. Reihman, and H. F.
Stiles was the director of filming. D. Lopez was the
sound man. while the whole production was directed by
H. Lionel Miller.
Hartley Reports
Hartley Productions, New York City, announces the
recent release of a 1200 foot monochrome movie with
sound track, entitled It Happened Here, sponsored by
the Church Mission of Help. Designed to interpret the
Mission's work to lay groups, clients and prospective
donors, the film was shot by Irving Hartley. Some infor-
mation as to the movie's content can be found in the Free
Film Reviews, where it is listed for public distribution.
Hans Burger wrote the script and directed the production,
and The Reverend Lauriston L. Scaife was the narrator.
A special musical score was composed by Giovanni Cama-
jani, which was sung by the choir of St. Thomas Church,
under the direction of Dr. T. Tertius Noble.
Training Films by Loucks & Norling
Offered by the U. S. Office of Education as the first of
its series of machine shop teaching films are five movies
of precision measurement, produced by Loucks & Norling,
of New York City. With a total footage of 2700 feet, the
films may be purchased separately or as a complete unit.
Instructors are expected to supplement the information
set forth both in terms of their own student groups and
of shop practice. All films are 16mm. monochrome with
sound. The titles of this first series follow: The Steel
Rule, The Micrometer, Fixed Gages, Vernier Scale, Height
Gages and Standard Indicators. The entire series of fifty
<$ * *
• ■ dfej jPH
■ *
1 -"**
"%
WHAT YOU CAN HEAR
CraaSfiS
m
!Es£S59
16mm. scenes by General Electric Co.
The non theatrical movie as
used for various purposes
GORDON L. HOUGH
films of the Office of Education is being distributed by
Castle Films, Inc., of New York City.
Movies in Church
Under the leadership of Dennis R. Anderson, Sr., ACL,
a group in the First Christian Church of New Castle, Ind.,
has embarked upon a program of showing religious and
educational films at the meetings of the various church
organizations. Mr. Anderson writes that the attendance
at the Sunday evening services has been tripled by show-
ing religious pictures. At the Christmas season, an ampli-
fier was placed outside the front window of the church,
and carols were sent out over the main part of the town.
The group made its own projection table for a sound
machine which was bought by the Sunday school class.
Activity at Iowa State
Iowa State College, in Ames, reports that its Visual
Instruction Service is in the midst of an extensive pro-
duction program. Already completed are three films about
the activities of the divisions of ['Continued on page 124]
■Murray Tucker
109
AMATEUR
CLUBS
• Actors in "Wolf Bait," cine skit made by Leo J. Heffernan, ACL,
and George A. Ward; it was screened at a recent meeting of the'
Metropolitan Motion Picture Club.
Long Beach serves
Authentic information on what to
do in the event of an air raid, how
to handle incendiary bombs and how to administer first aid
will be contained in three motion pictures to be filmed soon
by the Long Beach (Calif.) Cinema Club, according to an
announcement by Robin Hadley, ACL, newly elected presi-
dent. The group plans to follow up its production work with
projection service for the local Civilian Defense Council.
Other officers serving with Mr. Hadley are Dr. Franz Buerger,
first vicepresident; Harry Ward, second vicepresident ;
Prudence Bracklow, secretary; Mrs. V. B. Whitely, treas-
urer. Mrs. Mildred J. Caldwell, ACL, retiring president, was
presented with an engraved gift by the membership, in
appreciation of her vigorous leadership during 1941.
Winona forms New in Minnesota is the Winona Cine
and Camera Club, with an active
charter membership of thirty five still camera and movie
workers. First officers include Dr. N. A. Roettiger, ACL,
and Doren A. Eitsert, ACL. The club already has initiated
a survey of members' equipment and program interest, and
it is conducting a "swap and sales" department for used
equipment, as a partial answer to war shortened supplies.
Programs have been equally divided between beginners'
and advanced interests.
Worcester tries again The Worcester Cinema Club,
in Massachusetts, was reor-
ganized shortly after the new year and goes into 1942 with
• Members of Parkchester Cine Club, in New York City,
giving screen tests for "Well, I'll be — ," by George Kirstein.
George Grover
What organized groups
are doing everywhere
JAMES W. MOORE, ACL
a fresh and active board of officers. These are John M.
Bailey, president; Wayne Lovell, vicepresident; Wilfred E.
Despard, ACL, secretary; Edwin T. Olson, treasurer. An
early activity of the new unit was a gala screening of out-
standing films, open to the public, on which program the
club presented L'lle d'Orleans and His Off Day, from the
Club Film Library of the League, and Neiv England on
Parade, a 1600 foot feature by George Clark, a club member.
New in Iowa Thirteen members signed the charter roll
of the West Liberty Movie Makers Club,
recently formed in Iowa. Dr. T. A. Robertson, ACL, is first
president, assisted by Elmer Merridith, vicepresident; Forest
Hinkhouse, secretary; Arthur Oslund, treasurer.
ChicagOS exchange Following a friendly tradition of
the last few years, the Metro
Movie Club of River Park, in Chicago, and the Chicago
Cinema Club, ACL, have again exchanged positions as host
and guest at each other's meetings. At a mid February
gathering in the quarters of the Metro Club, members of
the elder Chicago Cinema Club were guests, and they sup-
plied the film program for their hosts, as follows: Autumn in
Color, by Sherman Arpp, ACL, and Fiesta Mexicana, by
M. A. Hagel. During the coming month, the Metro unit will
journey to CCC headquarters with their exchange program
of members' pictures.
First for Kenosha More than fifty members and guests
of the Kenosha Movie Makers Club,
in Wisconsin, gathered recently for the group's first annual
dinner meeting. Several members of the neighboring Ra-Cine
Club were guests of the Kenosha unit, and they were intro-
duced by Lewis Rasmussen, ACL, the club's president.
W. W. Vincent, jr., ACL, was in charge of dinner arrange-
ments, with the assistance of Earle Munger and Durward
Cunningham, who made a film record of the occasion. The
club plans a single reel, uncut film contest for the imme-
diate future.
Rockford goes West Members of the Rockford Movie
Makers, ACL, in Illinois, fol-
lowed Horace Greeley's sage advice, at least vicariously,
at a recent meeting which featured a program of Western
travel films. Ernest Estwing took the gathering through
Bryce and Zion National Parks, [Continued on page 126]
*- I HERE'S small need to tell you
how important that dependable
Cine-Kodak of yours really is.
Now more than ever.
But — what shape is it in?
It will make movies — yes. Good
movies. Year after year. With little or no attention. Yet a
movie camera is a delicate instrument requiring the pre-
cise co-ordination of many moving parts. The more valu-
able your camera has been to you . . . the more it has been
used . . . the greater is the likelihood that some of these
parts have worn . . . the greater the possibility that some
may be out of adjustment. Now — more than ever — needful
adjustments, repairs, or replacements are a move of
foresight and economy.
YOUR DEALER IS YOUR CONTACT
There are two separate and distinct methods by which
such repairs can be effected. Whichever plan you adopt
the initial step is the same: Take your equipment to your
dealer. If he is not equipped to do the work himself, he
will know the address of the nearest authorized Eastman
repair service. One suggestion here — why not deliver
your camera in its carrying case? It's good protection.
And it, too, may need a bit of touching up.
The first plan is for you to indicate what repairs you
believe your camera needs. If desired, charges for the
repair or replacement of individual parts will be quoted
before the work is executed. Even then, of course, Eastman
trouble shooters will make a general check of your equip-
ment and recommend all needful repairs — which, how-
ever, will not be undertaken without your say-so. Your
Cine-Kodak will be returned to you through your dealer
— less 25%0 of the usual repair charges if the Cine-
Kodak is received by repair shops before May 1.
CAMERAS "GOOD AS NEW"
The second plan, and probably the more advisable if
your equipment has seen considerable service, is for you
to turn it in for a complete overhaul. Some idea of the
meaning of "complete" is given by the illustration and
listing across the page. The equipment is completely dis-
mantled. Every single part of it is checked and tested —
and checked and tested again. All parts that need adjust-
ment— and can be adjusted — are adjusted. Other parts
are repaired. Still others replaced. Then the equipment is
given exactly the same tests and inspection which brand
new equipment must undergo — then returned to you —
and the cost is 25% less than the usual cost of camera
repairs, if received by repair shops before May 1.
nUTHlSl a**00**
£S** pwcls
CINE-KODAK **» $7 50
yodels 20 and 1 ^Q
Model 60 • • •
CINE-KODAK
Model B ••••■• "
NVodel BB ..*:••
l*odel I* • • •
Model K • •
Model E • •
,ine Sixteen .
Magazine =» ^
. • • •
$14.00
u.oo
10.00
»
12.00
10.00
12.00
ODAK REPAIRS UNTIL MAY 1
WHAT WE MEAN BY COMPLETE OVERHAUL
HERE are some of the things which will
be checked if, for example, you send in
a Cine-Kodak K for a complete overhaul:
1. Check dents or serious abrasions of
the case. Remove dents . . . touch up
abrasions.
2. Check external parts and fittings.
Test screw seatings — there are two
dozen of 'em on a Model K. Clean
metal parts.
3. Remove the lens and check the lens
surfaces, focusing, diaphragm, front
finder. Clean lens surfaces. Check ac-
curacy and ease of focusing, cleanliness
and adjustment of diaphragm blades,
condition of front finder.
4. Check rear finder.
5. Check lenses and mirrors of "K's"
waist-height finder.
6. Check fit of cover. Straighten, if
strong-arm methods have bent it or dis-
located locks and light guards on its
inner surface.
7. Check footage indicator for accuracy.
8. Check motor for jumps. If camera
"leaps" in hands, motor needs lubrica-
tion. With Model K this necessitates new
motor.
9. Check half-speed clutch for positive
action. If worn, replace.
10. Check length of run. Model K
should run at least a half minute with
one winding. Many Cine-Kodaks run
longer.
11. Check pressure plate. Proper fit of
plate to gate is essential for smooth flow
of film.
12. Remove and check gate. Clean,
and, if necessary, refit.
13. Check fit and operation of claw,
pull down, take-up tension, guide lever
on take-up spool. Claw must engage
perforations without touching film.
14. Check timing. "Fast" cameras un-
derexpose film. "Slow" cameras over-
expose it. Adjust timing if off.
15. Load and check for loss of loop.
16. Check tripod socket. If worn, re-
place.
17. Clean and lubricate. Remove all
mechanism from case. Clean and scru-
tinize. Cine-Kodak K owners should not
oil cameras themselves.
18. Check framing.
Except for a few inevitable
external indications of wear, a
Cine-Kodak must really be
lvgood-as-new" mechanically
before it is returned to you, com-
pletely overhauled — and that
overhaul backed by Eastman.
:
Have the New Guide put on your Camera
IF your Cine-Kodak was bought before the intro-
duction of the Cine-Kodak Universal Guide— the
guide that takes the exposure cards packed with
every roll of Cine-Kodak film — ask your dealer to
have it installed on the side of your camera while
it is in for repair. The old exposure plate on the
camera front will be changed at the same time.
Charge, $1.05 — 25% discount does not apply.
MAN
COMPANY
ROCHESTER, N. Y.
I
25WF
I HERE'S small need to tell you
how important that dependable
Cine-Kodak of yours really is.
Now more than ever.
But — what shape is it in?
It will make movies — yes. Good
movies. Year after year. With little or no attention. Yet a
movie camera is a delicate instrument requiring the pre-
cise co-ordination of many moving parts. The more valu-
able your camera has been to you . . . the more it has been
used . . . the greater is the likelihood that some of these
parts have worn . . . the greater the possibility that some
may be out of adjustment. Now — more than ever — needful
adjustments, repairs, or replacements are a move of
foresight and economy,
YOUR DEALER IS YOUR CONTACT
There are two separate and distinct methods by which
such repairs can be effected. Whichever plan you adopt
the initial step is the same: Take your equipment to your
dealer. If he is not equipped to do the work himself, he
will know the address of the nearest authorized Eastman
repair service. One suggestion here — why not deliver
your camera in its carrying case? It's good protection.
And it, too, may need a bit of touching up.
OlDUCl »?»
RDM W* a**»*
flrf*** *TS 17.50
Model 60
The first plan is for you to indicate what repairs you
believe your camera needs. If desired, charges for the
repair or replacement of individual parts will be quoted
before the work is executed. Even then, of course, Eastman
trouble shooters will make a general check of your equip-
ment and recommend all needful repairs — which, how-
ever, will not be undertaken without your say-so. Your
Cine-Kodak will be returned to you through your dealer
— less 25% of the usual repair charges if the Cine-
Kodak is received by repair shops before May 1.
CAMERAS "GOOD AS NEW"
The second plan, and probably the more advisable if
your equipment has seen considerable service, is for you
to turn it in for a complete overhaul. Some idea of the
meaning of "complete" is given by the illustration and
listing across the page. The equipment is completely dis-
mantled. Every single part of it is checked and tested —
and checked and tested again. All parts that need adjust-
ment— and can be adjusted — are adjusted. Other parts
are repaired. Still others replaced. Then the equipment is
given exactly the same tests and inspection which brand
new equipment must undergo — then returned to you —
and the costis25%less than the usual cost of camera
repairs, if received by repair shops before May 1.
cinUodak 16-NUA. ^
Model B . l4 oO
Model BB • lQ 0o
Model NV l2.00
Model VC • • l0 oO
Model E • • • ' ^.0°
Magazine SWeen.
WHAT WE MEAN BY COMPLETE OVERHAUL
HERE are some of the things which will
be checked if, for example, you send in
a Cine-Kodak K for a complete overhaul:
1. Check dents or serious abrasions of
the case. Remove dents . . . touch up
abrasions.
2. Check external parts and fittings.
Test screw seatings — there are two
dozen of 'em on a Model K. Clean
metal parts.
3. Remove the lens and check the lens
surfaces, focusing, diaphragm, front
finder. Clean lens surfaces. Check ac-
curacy and ease of focusing, cleanliness
and adjustment of diaphragm blades,
condition of front finder.
4. Check rear finder.
5. Check lenses and mirrors of "K's"
. waist-height finder.
6. Check fit of cover. Straighten, if
strong-arm methods have bent it or dis-
located locks and light guards on its
inner surface.
7. Check footage indicator for accuracy.
8. Check motor for jumps. If camera
"leaps" in hands, motor needs lubrica-
tion. With Model K this necessitates new
motor.
9. Check half-speed clutch for positive
action. If worn, replace.
10. Cheek length of run. Model K
should run at least a half minute with
one winding. Many Cine-Kodaks run
longer.
11. Check pressure plate. Proper fit of
plate io gate is essential for smooth flow
of film.
12. Remove and check gate. Clean,
and, if necessary, refit.
13. Check fit ond operation of claw,
pull down, take-up tension, guide lever
on fake-up spool. Claw must engage
perforations without touching film.
14. Check timing. "Fast" cameras i
deiexpose film. "Slow" cameras ov
expose it. Adjust timing if off,
15. Load and check for loss of loop.
If
Remove alt
n and bctu-
ihould not
16. Check tripod socket.
place.
17. Clean and lubricate,
mechanism from case. CI
tinize. Cine-Kodak K
oil cameras themselv
16. Check framing.
Except for a few inevitable
external indications of wear, a
Cine-Kodak must really be
"good-as-new" mechanically
before it is returned to you, com-
pletely overhauled — and that
overhaul backed by Eastman.
Have the New Guide put on your Camera
ASTMAN KODAK C0MPA,
Be, $1.05—25% disc
ROCHESTER, N. Y.
112
NEWS OF
THE INDUSTRY
• Below, shots in latest Castle releases. From top fo
bottom, the Normandie capsizing and battleships aflame
in "Bombing of Pearl Harbor — Burning of SS Normandie."
Bottom, dramatic scene in "Britain's Commandos in Action."
i
^8
i
6
W^J|2
ft
J
• Filmo Turret 8, made by Bell & Howell
Co., equipped with Quick Shift Zoom
Attachment.
RUSSELL C. HOLSLAG, ACL
Kodacolor A revolutionary new
process, which brings
color snapshots to users of roll film
cameras, has been perfected by the
Eastman Kodak Company, Rochester,
N. Y. Movie makers of long standing
will recognize in Kodacolor the name
which was given to the first 16mm. color
film. Since this original color movie film
is no longer made, the name was liber-
ated for the new process, which bears
little resemblance to its predecessor.
Kodacolor has now become a roll film
negative for still camera use, and from
it the paper prints in color can be made.
The negative must be developed by
special processing methods of the manu-
facturer, and enlarged paper prints of
standard size are available from the
same source. Processing and printing
of films are done only through dealers.
Kodacolor roll film, after exposure
and processing, becomes a negative of
a special kind. Not only are the tonal
values reversed, as in the case of an
ordinary black and white negative, but
the color values are reversed as well.
That is, green trees may appear on the
negative as orange, red stripes in the
flag appear as blue, and so on. For
average subjects in sunlight, the basic
exposure is given as one fiftieth of a sec-
ond at //8 to //ll. When the color
negative is printed, the values are re-
versed and the picture then appears in
its proper colors as a positive.
All Kodacolor prints are made to
the same fixed width of two and seven
eighths inches; the length depends on
the proportions of the picture dimen-
sions given by any particular camera.
Prints from color negatives can be
made at any time and in any quantity.
Answers the query
"What's new?" for
filmer and dealer
Satisfactory black and white prints also
can be made from Kodacolor negatives.
It is not recommended that Koda-
color film be used with artificial light,
although it is said that blue tinted flash
bulbs may be used for interior work.
Kodacolor prints have a glossy surface;
and they cost forty cents in each of the
standard sizes. Original roll film sizes
are 127, 120, 620, 116, 616 and 122.
Prices range from $1.25 to $2.40 a roll.
Kodascope Sixteen-10 A new
Ko d a-
scope 16mm. projector of moderate
price and high quality has been in-
troduced by the Eastman Kodak Com-
pany. Rochester, N. Y. The outstand-
ing features of the new machine are its
simple, efficient design, which provides
the utmost facility in setting up, thread-
ing and operation, and its universal
adaptability to meet the varying condi-
tions of projection.
The Sixteen-10 was designed espe-
cially for use with projection lamps up
to 750 watts in rating, but it may also
be used with the 1000 watt lamp if con-
ditions demand. There is a choice of
five projection lenses, from the short
focus, one inch, //2.5 to the four inch,
f/2.5. The pull down claws are ar-
ranged in a straight line, for showing
either single or double perforated film.
The entire optical system is easily ac-
cessible for cleaning, and the roomy,
new type lamp house is efficiently fan
cooled. If desired, the lamp itself can
be laterally shifted through a special
adjustment for accurate centering.
The projector mechanism and lamp
house unit are carried on a gracefully
designed pedestal base. A handy knob
at the upper part of the base column
enables the image to be centered on
the screen by tilting. Framing device,
speed control and rapid rewind are pro-
vided.
A handsome carrying case, covered
with gray luggage fabric, is available
for the new projector and accessories.
[Continued on page 128]
Ill
CANADIAN
CONTEST
OPENS
Photograph from National Film Board of Canada
16mm. scenes by Harley Bixler, ACL
• Frames from "Canada's Garden Province," study of Prince Edward Island by Harley
Bixler, ACL. Photograph is of scene in New Brunswick. These are two of the Provinces
cooperating in the contest.
THE National Film Board of Canada invites the ama-
teur movie makers of the United States to film in Can-
ada this summer. That official bureau of the Canadian
Government urges the movie makers of this country to
turn their cameras on Canada's north woods, its fishing
streams, its beautiful old world cities, its lands in Quebec,
where peaceful farmers follow the traditions of their
French ancestors.
"Come to Canada," invites the Canadian National Film
Board, and the governments of four Provinces back up
this invitation with generous prizes for the best 16mm.
movies made within their borders. British Columbia,
Quebec, New Brunswick and Prince Edward Island each
offers a prize of all expense tours for two persons, while
the National Film Board, itself, offers a cash prize of
$500.00 for the best of the four films that win the prizes
offered by the Provincial governments.
The contest, which opens March 1 and which closes
November 15, 1942, is open to movie makers who are
residents of the United States. It is not open to Canadians
nor to United States citizens resident in Canada. In other
words, the contest is planned to discover the best films
made by United States tourists who visit one of four of
the Provinces of Canada during the coming travel and
vacation season.
To enter the contest, a movie
maker would visit one or more of the
four cooperating Provinces of Can-
ada— British Columbia, Quebec, New
Brunswick or Prince Edward Island
— and there he would make a movie
of at least 400 feet in length. As his
subject, the movie maker can select any scenic topic, any
recreation or sport or combination that he chooses. He
can film any industrial or community subject that is not
affected by wartime restrictions. He can simply make a
film of his travels, if he likes, or he can select some par-
ticular subject and confine his movie footage to that. The
important thing is that the competing movie maker must
devote two thirds of the footage of the finished movie to
subjects filmed within the borders of the Province that
he has selected. The remainder of the footage can consist
of any appropriate subject matter — the movie maker's
travels to Canada, his visits to other Provinces or shots
made elsewhere, to develop the particular continuity, or
theme, of the picture.
Thus, to enter the contest, the movie maker selects one
of the four cooperating Provinces as his subject matter.
If he wishes, the competing movie maker can enter more
than one film in the contest [Continued on page 127]
• Frames from "Hail, British Columbia!", film of that Province by Leo J.
Heffernan, ACL. Photograph is of scene in Quebec. Both these Provinces are
cooperating in the National Film Board contest.
National Film Board of Canada
New contest offers
$500.00 cash and
other big prizes
114
16mm. scene by Dan
Billman, jr., ACL
Vne Clinic
Technical comment
and timely topics
for the amateur
KENNETH F. SPACE, ACL
Supplementary lens holder w e
note
that there is a great increase in inter-
est in the use of supplementary lenses
for title work or for other closeup film-
ing. The device shown below has been
suggested in the past for use as a filter
holder, but we believe that it provides
a most convenient means of supporting
various supplementary lenses in front of
the camera lens. Supplementary lenses
usually are sold without a means of at-
taching them before the camera lens.
The materials are readily available,
consisting of a section of a mailing
tube, the bottom of a pill box and several
covers. First, find a mailing tube of a
size which will permit it to slide snugly
over the barrel of the camera lens. If
Supplementary lens holder made of pill box
an exact fit cannot be found, the inside
of the tube can be padded with a few
layers of cardboard, or you can make
a special tube from cardboard. Cut a
short length of this tube and glue to it
the base of a pill box of appropriate
size. Cut away all the inside of the pill
box that is not used as a surface to be
cemented to the mailing tube. This ac-
tion will free the entire area of the
camera lens. The cover of the pill box
is used to hold the supplementary lens.
Tims, when the mailing tube is fitted
over the camera lens and when the
cover of the pill box is fitted over the
projecting base of the pill box, the sup-
plementary lens will be in place before
the camera lens.
In the illustration, A is the camera
lens barrel, B the mailing tube section,
C the pill box base and D the box cover
which holds the supplementary lens.
The mailing tube section should not ex-
tend too far in front of the end of the
lens barrel. It should be only as long
as is necessary to hold the lens and
pill box firmly.
Telephoto shots Jt is risky to take
telephoto pic-
tures with the camera held in the hand,
for the screen image will invariably
show too much camera movement and
will appear to be unsteady. In 16mm.,
this warning applies to the use of any
lens with a focal length that is greater
than two inches; and, even with the two
inch lens, it is difficult to keep the pic-
ture steady by holding the camera in the
hand. When it comes to applying this
rule to 8mm., a fallacy creeps in. Many
filmers think that it is feasible to make
a steady scene with an 8mm. camera
equipped with a two inch lens that is
held in the hand. Such a lens, however,
gives an equivalent magnification to
that given by a four inch lens in 16mm.
Movie frame calling card From
Ormal
I. Sprungman, ACL, comes this clever
"stunt" of particular appeal to movie
makers. Mr. Sprungman writes. "A
16mm. frame enlargement of the signa-
ture title from one of your movie films
Calling card made of enlargement
of frame of movie credit title
provides unique material for a calling
card. Utilizing a frame enlarger, you
can blow up the single or double ex-
posed title wording to a negative of
standard calling card size and you can
run off prints on sturdy, double weight
paper. A thin white border gives the
card a professional looking trim." The
card which is illustrated above is one
that is used by Dan Billman, jr., ACL,
who placed in Movie Makers Ten Best
of 1941 with his splendid film, South
of Honolulu.
Dual amplifiers From Roger T.
Holroyd comes the
following very fine suggestion for im-
proving the quality of your sound re-
production, either from your sound pro-
jector or from your record player or
dual turntable. Mr. Holroyd writes,
"The idea of using two amplifiers in
different parts of the room, is one that,
to my knowledge, has never been asso-
ciated with presenting music in home
movies, Tior with professional sound on
film. Disney's Fantasound is based on
the use of nine amplifiers with nine
sound tracks, but this suggestion sim-
ply involves two speakers that are ser-
viced by the same track or recording.
Sound perspective is essentially the
same as is sight perspective, in that our
ears detect the slight difference in the
volume of sound which strikes each ear
drum. It is thus that we determine from
what direction the sound comes. When
identical sounds strike each ear at the
same time, this perspective is lost, and
the brain can distinguish neither dis-
tance nor direction. With two speakers
carrying your recording (or your ra-
dio), the effect is that 'the air is filled'
with music, especially if both speakers
are hidden from sight. This is an effect
that would seem to be desirable when-
ever spoken words are not synchro-
nized with the film and whenever
music is used as an incidental ac-
companiment. The system itself is sim-
ple. Place one amplifier behind the
screen, or preferably to one side of the
screen, and place a second at a point
midway between the projector and the
screen (high on the wall or even in the
ceiling, if possible). The lead to the
115 second amplifier is merely spliced into
the first. A fair sized speaker from an
old radio will serve quite satisfactorily
as the second amplifier.
"An added refinement is to incor-
porate a rheostat into the second
speaker lead. Then, as the film opens,
you can use the single amplifier behind
the screen, thus directing the audi-
ence's attention to the screen. As the
main title fades and as the first scene
appears, turn up the second speaker,
until both are carrying an equal vol-
ume. If you have a tone control on both
amplifiers, one may be turned to treble
and the other to bass, giving clearer
than usual reproduction of both ranges.
Giving, as it does, rich volume through-
out the room without being 'loud' at
any one spot, this system, you will find,
is particularly delightful for sustaining
music during the time that you are
changing reels."
Emergency patch Probably
movie making
offers no more embarrassing moment
than that which occurs when the film
or a splice breaks in the midst of a
projection, especially if the show is for
one's dearest friends and severest crit-
ics— his fellow filmers. In theory, the
best thing to do is to stop, to make a
splice quickly and then to continue the
program. But did you ever know any-
body who, under these conditions, could
make a quick splice that would hold
at all?
Punch type paper clip for emergency splice
We have, in the past, suggested that
a roll of adhesive tape be kept handy
for such occasions as these. This is the
best solution, but we do realize that, in
making a temporary join, one may lose
time in cutting or tearing off a piece of
tape and in applying it to the film. An-
other, and much faster, method, is to use
a paper clip of the "punch" type, carry-
ing a few in an empty aspirin tin (it
saves headaches). Then, whenever the
film parts, you will need but a moment
to stop the projector, to hold the loose
film ends together and to bind them
with a clip, as shown in the illustration
Device to aid in rewinding film in darkroom
at the left. You can do the job in less
than half a minute, and usually the pro-
jector pilot light will provide enough
illumination so that you need not turn
on the room lights. The slack film
should be wound on the takeup reel,
and the show can continue immediate-
ly. A very important point to be re-
membered is that, when you have oc-
casion to make such an emergency
patch, you should make a good firm
film splice immediately after the com-
pletion of the showing. If you forget
to do this chore, the metal clip may
cause serious damage to the projector
when you screen the movie again.
REACHING THE MOON
On some clear nights, the moon
seems to be large and bright enough
to be a good cine subject; but, when
you look at it through the camera
view finder, you will note that it oc-
cupies very little area within the
frame if the ordinary lens is used.
Shots of the moon will give you the
best results if you film them with a
telephoto. Shoot the moon in the early
evening while there is still a faint
trace of light in the sky, so that the
outline of objects in the foreground
may be seen.
Dressing up the screen Arthur
Farrer
speaks for most of us when he says,
"It is the desire of movie amateurs to
give as professional a show as pos-
sible." He goes further to tell us how
he has adapted his screen to give the
desired effect.
"I have constructed a simple but ef-
fective proscenium which greatly en-
hances the appearance of my project-
ed films. To make it, a wooden support,
about eight inches longer than the
screen, is needed. You may attach it to
the wall or insert screw eyes in it, so
that it can be hung from the ceiling
Proscenium which frames screen and holds curtain
or picture molding. A pulley rod. which
may be obtained for about fifty cents,
is next needed. On the front side of the
wooden support and about one inch
from either end, rod brackets are
placed to support the pulley rod, from
which you may hang a curtain of your
own selection. I also attached two more
brackets, one at each extreme end of
the wooden support and, upon them, I
have placed an extended curtain rod.
Along the entire length of this outside
rod, I attached a curtain, hanging down
about four inches, to conceal the nulley
rod and to give a true theatrical effect.
This treatment may be employed with
any type of screen. I happen to use a
hanging screen which I attach to the
bottom edge of the wooden support by
hooks and screw eyes." (See drawing
below. )
Rewind for double exposure
While we admit that it is a great ad-
vantage to have a camera with a built
in back cranking device, not all movie
makers have cameras of this type. We
know that we can take any movie cam-
era into a darkroom or lightproof
closet, remove the film and rewind it
from one spool to another; but this is a
fairly awkward job, for one must hold
a spool in each hand and turn both of
them at the same time.
The "gadget" shown above, which may
be made easily, will facilitate rewind-
ing exposed film for double exposure
and other effects, and it can be used
in darkroom, closet or changing bag. It
is simply an oblong piece of wood that
is about an inch thick, or less, and that
is long enough to allow one to cut open
slots in each end that will take camera
film spools. At points A and B, holes
are bored through the sides of the slots,
so that short lengths of wooden dowel
or metal bolts may be inserted, to serve
[Continued on page 122]
FROM DARK TO LIGHT
One of the difficulties encountered
in making a long panorama is that
the beginning of the "pan" may
present an entirely different exposure
condition than does the end of it. The
first part of the scene may be in sun-
light and the latter part may be in
deep shadow. If the filmer has a helper
who can change the exposure as the
"pan" is made, the problem may be
solved. But the best solution is "Don't
make the 'pan'!"
116
• A -full construction
plan tor editing desk
described here. Below,
photographs of desk
built by author, with
front closed and with
it open ready for edit-
ing.
Original design - by Borden R. Putnam
A BOOKCASE EDITING DESK
Cine convenience is permanent home fixture
Borden R. Putnam, ACL
BORDEN R. PUTNAM, ACL
FOR many years, I have felt the need for a compact desk or cabinet that was suitably
equipped and arranged for cine editing, splicing and film storage. I also needed
suitable shelves for magazines, file drawers for personal correspondence, catalogs and so
forth and at least two book shelves that were large enough to accommodate motion pic-
ture and photographic magazines in binders. (Such binders are twelve inches high, and
ordinary bookcases do not provide that much vertical space.)
This article and the accompanying sketch and photographs describe a piece of furni-
ture that meets all these requirements.
The material used was seven eighths by ten inch square edge boards of knotty pine,
and the piece was finished with Minwax to a color that is slightly darker than natural;
it was then thoroughly waxed and rubbed. The light finish, showing the attractive grain
and knot pattern, is decorative and ideal for a room of average size, where the effect
of a large mass, that would result from a dark finish, should be avoided. The entire cost
of material used was only about ten dollars.
The upper magazine shelf is of a width to accommodate such magazines as Time,
Business Week, Motor Boating and others, and the second shelf accommodates Saturday
Evening Post, Life and similar magazines. The drop front of the desk compartment is a
single board with two inch cross members at each end, doweled and glued to the center
panel, to prevent warping. Soss hinges were used, as I wanted to conceal all metal hard-
ware. The pull knobs for the drop front are small wooden knobs recessed in two inch
holes, three fourths of the way through the panel, the knobs being sanded flush with the
front of the panel.
Inside the desk compartment, there is ample room for an editing board equipped
with two standard rewinds, splicer and film viewer. An electrical outlet was placed flush
with the desk top at the extreme left rear of the compartment, the outlet being a com-
bination switch, telltale light and outlet, so that, when the shutter of the viewer is closed
and no light is visible, the telltale light indicates that the [Continued on page 122]
MOVIE MAKERS
117
Hail, British Columbia!
[Continued from page 101]
movies of the sister ship of the Princess
Elizabeth. Then I filmed a close up of a
Victoria traffic "bobby," his face
wreathed in smiles as he motioned to
the pedestrians, and this scene is fol-
lowed by a reaction shot of a pretty girl
in the crowd, who smiles toward the
"bobby" as she starts to cross the street.
The pedestrians are shown crossing the
street, and this scene dissolves into the
first of the shots that I made from the
truck on the day before. In the movie,
this series forms a natural beginning
for the camera visit to the Island of
Vancouver.
On a side street in Victoria, I chanced
upon a business establishment known
as Ye Shady Pergola Bicycle Rentery.
Signs advised passersby that bicycles
could be rented for "a shilling an hour
—25c to you!" Rows of the cycles stood
mutely at attention in their stands on a
low platform. Presently four young la-
dies in slacks approached and set about
the business of choosing bicycles for an
afternoon spin.
One of the girls glanced curiously at
my movie camera and its business like
tripod. This was the cue that I was
waiting for (I had been waiting for
more than an hour, as a matter of fact) ,
so I said to her, "Do you suppose that
I could make some movies of you and
your friends during your ride?"
A hesitant "Well — yes — I guess so"
sealed the fate of the quartet for the
rest of the afternoon.
One scene led to another in what
must have seemed to the girls to be a
haphazard scramble. Actually, every
shot was carefully planned and was
part of a pattern at the back of my
mind. I was gambling everything on
being able to keep the girls working
until the sequence was finished. When
I had finished one scene, I'd say to
them, "Now, do you suppose we could
do this — " and possibly end up with
— it shouldn't take very long."
In this way, I made pictures of the
girls choosing and hiring their wheels
and shot closeups of them while they
chatted about the best course to take.
Then the quartet mounted and started
off, whereupon the camera followed
them until they turned a corner and
quickly rode out of sight.
The girls are next seen riding along
a shady lane in a park, and, after this
scene, there is a short series of shots
of various picturesque roads. In all
scenes, the girls are spinning along at
a gay pace. These shots are varied as
to viewpoint, and, in one scene, the
camera was placed on the asphalt in
the center of the road, propped up in
the front, to obtain what would be a
worm's eye view of the bicycle riders.
The girls approach two abreast and. as
The "Badge"
of the
Specialist
T3ACK a few years, the "badge" of the press photographer was his faithful
-*-* Graflex. Today, the Graflex serves a far wider usefulness. But it is still
chosen because its user wants to do some special kind of work, work which
may be pictorial or documentary or . . . human interest. The special uses of
Graflex are endless.
The appeal of Graflex to the specialist lies in its unique combination of
features: right-side-up ground-glass focusing . . . focal plane shutter speeds
up to 1/1000 second . . . immediate, visible means of checking focus, depth of
field, and composition . . . excellent standard lenses (Kodak Anastigmats,
//4.5) interchangeable with accessory telephotos.
Inspect a Graflex at your Kodak dealer's, with your specialty in mind.
Graflex and Graphic cameras are made by the Folmer Graflex Corp.
EASTMAN KODAK COMPANY, ROCHESTER, N. Y.
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WESTON C^fiosurejMefer
118
MARCH 1942
The MOVIE MAKER'S
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folder. Price, incl. excise tax. ..$4. 15
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Manufactured of beautiful quarter-sawed sycamore with
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THE N EGA-FILE COMPANY
EASTON, PENNA.
they speed by, one on each side, their
wheels miss the camera by inches. Their
destination is a lovely lake, and they
ride around its shores until they reach
a grassy bank where they dismount to
watch some swans swimming about in
the water. The last scene of the se-
quence is of the girls sitting on the
bank, seen through the spokes of a
bicycle wheel.
It is easy to induce strangers to join
one's movie work, not only as actors,
but even as reflector holders or equip-
ment carriers! The main point to keep
in mind is that it is a mistake to ap-
proach strangers and to say, "Would
you do me a favor and — ," indicating
what you would like them to do. This
approach puts it to your victim to make
a decision, "yes" or "no," and more
often than not it will be a decided "no."
The question, "Do you suppose you
could?" allows only one answer — at
least, I have found that to be the case
— of course they can!
When you want a little boy to do
something, say to him, "Do you sup-
pose that you are big enough to climb
up on that rock over there on the shore
and toss this stone into the water?" He
will be taken off guard by the chal-
lenge which these words convey and
will do things which he never could be
coaxed to do. And the challenge is jus-
tified: it takes pluck to act before a
movie camera for the first time.
A titian haired young lady named
Sheila is a case I have in mind. She
happened to be visiting an English inn
on Vancouver Island when I arrived to
take pictures of the inn, with its
thatched roof and leaded window panes.
I could see at a glance that Sheila was
a lovely lens subject, and I lost no time
in explaining to her how flat my pic-
tures of the inn would be unless I was
able to introduce the human element
somehow — -her, for example.
She was rather shy but she was too
nice to say "no" and didn't have quite
enough courage to say "yes" — so I kept
right on telling her about the scenes
that I wranted to get, and I outlined her
part in the proceedings. One of the
shots intrigued her. It involved a magi-
cal change in costume, produced by
using a dissolve. Sheila was to stand
still in front of the inn, and I was to
shoot a few feet of her, dressed in her
street ensemble. I should fade out this
shot and wind the film back to the
point where the fade out began. Then,
as I explained to Sheila, she would
change into one of the old English cos-
tumes (I knew that there were some
available in a trunk in the attic of the
inn, for they had been shown to me
shortly before by the proprietor), and
I should film her in the costume while
she stood in exactly the same position
as in the previous scene. This scene
would fade in at the same speed as did
the preceding fade out, so that, in the
scene, it would appear as if Sheila's
clothes had changed at the touch of a
fairy wand.
That was the idea which broke
Sheila's resistance, for shortly after-
ward we were making the sequence
that I had planned — a little story tell-
ing what just such a girl as Sheila
would find interesting at the inn, and,
of course, she went through her paces
with the best views of the inn directly
behind her.
The sequence is high lighted by
some clever acting on Sheila's part.
There is a shot that was taken from in-
side the inn, looking out through a
large bay window with leaded panes.
On shelves inside the window is the
inn's china collection, and Sheila is dis-
covered, with the sunshine back light-
ing her hair, looking through the win-
dow from the outside. Her expression
as she looks at the china is hauntingly
sweet, and it bears out the old photog-
rapher's maxim, "Give your model
something to do!"
When I considered that I had enough
footage of Vancouver Island, I packed
bags and camera cases and traveled by
boat and train to Harrison Lake, about
fifty miles southeast of Vancouver. This
is a well known spa. I put up at the
Harrison Hot Springs Hotel — a fortu-
nate choice, for the assistant manager
of the hotel was most cooperative. He
turned out to be a human dynamo in
providing me with cine material. It was
necessary only for me to describe the
scenes that I had in mind and to tell
him how many subjects would be re-
quired. During my two days at the ho-
tel, he functioned as casting director,
property man. reflector boy and assist-
ant director, and he acted a comedy
part in one sequence!
It was over a weekend, and there
were several hundred weekend guests
at the lake, not to mention the vaca-
tionists. Everybody was busy trying to
get in as much tennis, bowling on the
green, swimming or boating as was hu-
manly possible during his stay, and it
needed the suave persuasiveness of the
assistant manager to get guests to act
the sports scenes that I was so anxious
to make. On Saturday afternoon. I
made sequences which told a short
story of the tennis matches, and I even
took the camera on the courts for
flashes of play and action closeups
which could be obtained in no other
way.
On Sunday, we made a short record
of a game of bowling on the green, and
this sequence was followed by a more
elaborate sequence of a group of girls
in bathing suits as they played about
on the lawns and beaches of the hotel.
This latter sequence ends naturally in
a fade out when the girls dive off a
dock into the water.
During the afternoon, two young
ladies were accompanied by the camera
MOVIE MAKERS
119
during a trip by horseback to one of the
mountain tops. and. naturally, this ac-
tion was filmed so as to take advantage
of the scenic glories of the lake and the
mountains which surround it.
At six o'clock the next morning, I
traveled by motor launch up Harrison
Lake for twenty miles to the Clark
Lumber Camp. I had been warned that
my reception might be cool, for logging
bosses know the danger to bystanders
during lumbering operations. When I
went ashore, I met Cliff Clark, one of
the partners, who was just about to
drive six miles into the mountains to
the site where big timber was being
felled. Sure, there was room for me in
the dilapidated Ford! As we drove
along, Cliff confided that he, too, was a
16mm. movie "fan" and had just re-
ceived his first roll of Kodachrome back
from the processing station. "I ran the
pictures through the projector ten times
and just couldn't believe / had made
such beautiful color movies," said Cliff.
He planned to make a movie covering
the logging industry, and it was evident
that my new friend had given the mat-
ter considerable thought, for he whisked
me about, when we reached the place
where the lumberjacks were working,
from one spot to another. It would have
taken days for me to find these view-
points for myself. I shot huge piles of
slender logs — telephone poles. Cliff
called them — and my camera whirred
as I filmed an ''up and over," which is
a logging maneuver performed with the
aid of a derrick. I filmed two men as
they sawed at the base of a Douglas
Fir, then '"panned" slowly to the top of
the forest giant. I had barely reached
the top when I heard the cry of "Tim-
ber," and the great tree toppled over
and crashed to the ground, causing the
earth to quake under my feet. Cliff
whisked me atop the trunk of the fallen
giant and told me to film the lumber-
jacks as they sawed the tree into sec-
tions. A wide angle lens was snapped
into place for this shot, and the camera
was pointed obliquely downward, so
that the lines of the tree trunk entered
the scene from both corners of the low-
er margin and converged at the top cen-
ter of the picture. On the screen, this
scene gives a very good idea of the
great size of the tree.
Then I made shots of the "cats," the
tractors, dragging the logs out of the
forest and dropping them alongside the
truck on which they are loaded for the
downhill trip to the lake. I filmed all
this, and a final shot showed a truck-
load of logs being dumped into the
lake, to be towed to the lumber mills.
In less than three hours, I had made
scenes of practically all logging opera-
tions and I felt that I could not have
done better if I had spent a month at
the camp.
I might have spared myself much
worry during my journeys through Brit-
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FILM CLEANING MACHINES
120
MARCH 1942
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ish Columbia could I have foreseen the
good fortune which awaited me in
Banff. There I found a talented young
lady, of the staff of the Banff Springs
Hotel, and Constable William Neff, of
the Royal Canadian Mounted Police,
who were persuaded to act the roles of
the girl and the "Mountie." Neither had
ever acted before a movie camera, but
it did not take them long to assume the
mannerisms and tricks of the experi-
enced play actor. Coaching was neces-
sary, of course, but shooting the story
sequences progressed so smoothly that
all the needed continuity scenes were
made in one day, with but a single re-
take the next day.
Hail, British Columbia! is really a
compilation of vastly different types of
material that is held together by the
running theme of the "Mountie" an-
swering questions about the province.
I took a long chance on the possibility
that the story idea would not hold the
picture together — but it did! I can rec-
ommend others to try the dramatic
theme for a travel film.
What wide angle
lenses do
[Continued from page 103]
popular, because, if one wishes a wide
angle effect at all, there is usually a
need to go "all out" on it. Some of
the earlier 16mm. movie cameras were
fitted with 20mm. lenses as regular
equipment in order to give a partial
wide angle effect.
It is an optical truism that the depth
of field increases as the focal length
decreases, other things being equal.
Consequently, the wide angle lens, be-
ing a short focus objective, enjoys this
advantageous property. Because of this
fact, we find that many wide angle
lenses are of the fixed focus type, under
which arrangement they perform very
well. Because of its shorter focus, the
wide angle lens has greater tolerances
as a fixed focus lens than does the regu-
lar 25mm. or one inch lens.
Still photographers tell us that the
wide angle lenses, made for cameras
which take large pictures, have to be
carefully inspected to be sure that they
"cover." This point means that, on
large images, there may be a loss of
illumination and of definition around
the edges of the picture. Luckily, this
does not usually occur in movie work
because of the inherently small size of
the image on the film.
Wide angle lenses usually come in
fast and moderate speeds, and it is the
universal practice to supply the fast
ones in focusing mounts. As with any
lens, focusing should be more carefully
performed at the wider, faster stops,
even though the wide angle lens grants
more tolerance in this direction.
What about the wide angle lens for
8mm. cameras? Here, physical limita-
tions must necessarily operate. The
normal taking lens for an 8mm. camera
has a focal length of ^V^mm., or about
half an inch. It is obvious that such a
lens must be set pretty close to the film
when it is mounted in the camera. We
must consider, also, that there is a
necessary, inner extension of the lens
barrel that must occupy some of the
available space. There must also be left
a space between lens and aperture for
the movement of a revolving or recipro-
cating shutter. Now, to make a short
focus lens for 8mm. which would give
the same increased field as does the
wide angle lens on the 16mm. camera,
the corresponding focal length for 8mm.
would have to be 7%mm., or a little
over one quarter of an inch. A lens of
this short focal length is not feasible
for the ordinary camera, because of
the space limitations outlined above.
But 8mm. owners need not by any
means resign themselves to a complete
lack of wide angle facilities. Supple-
mentary lens auxiliaries have been
made available which, when attached
to the front of the regular taking lens,
will widen the normal 8mm. field to
give a genuine wide angle effect. These
supplementary lenses are made by sev-
eral manufacturers; and, in using one,
the movie maker simply screws it on
the front of the regular lens in place
of the lens shade. Beyond widening the
included field, they do not affect the
focus, definition or other properties of
the taking lens in any way. They may
be used with complete confidence in
accordance with the instructions sup-
plied by the manufacturer.
How we made
'The Black Rider"
[Continued from page 107]
spectacular enough for our purpose.
I wanted, instead, to give the impres-
sion that buildings were directly below
the cliff and that the hero jumped down
to the roof of one. Actually, the build-
ings were too great a distance from the
cliff for this leap.
Finally, we took a full shot of the
hero on the edge of the cliff, framed so
that an unseen structure could have
been below him. This scene is followed
by a closer shot of the hero, which
"flash pans" away from him into the
sky and down. Next comes another
flash from the sky down to the tank.
When we cut the picture, only a few
frames of the sky were left, to make it
appear that the distance between the
cliff top and the roof of the water tank
was not too great. The hero, framed
against the sky, jumps into space from
a small ledge; then there is a flash of
him coming through the air and land-
MOVIE MAKERS
121
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ing on the tank. In making the latter
scene, the hero stood on the roof and
jumped upward about a foot and partly
out of the top of the frame. The up-
ward portion of the jump was cut out,
and only the portion of the hero com-
ing from out of the frame, to land on
the tank, is used. In the background,
a cliff can be seen, and it appears that
the hero jumped from it. Actually, the
cliff was a hundred feet away, but the
scene is so short that the audience does
not realize the distance.
When a stranger approached the
secret hideout in our story, one outlaw
guard was supposed to signal another.
Some visual signal was needed, as a
whistle or anything that was supposed
to be audible would not be effective in
a silent film. So the first outlaw flashed
a small hand mirror directly into the
lens of the camera, in a sort of dot and
dash code. The second outlaw gets the
message by the light of the mirror
flashing in his face. The second outlaw
is first seen through a closeup of the
mirror, held in the first outlaw's hand.
Our "running gag" in The Black
Rider is the continual perseverance of
the comedy lead in trying to solve an
old nail puzzle. Several times, he near-
ly succeeds, but something always pre-
vents it. In the end. of course, he solves
the puzzle. In one sequence, the fellow
is sitting on a sawhorse at the top of
a ditch. The puzzle almost parts when,
suddenly, the wooden horse breaks un-
der his weight, spilling him into the
ditch. Instead of getting him actually
to roll down into the ditch, we created
the impression that he did, by cutting.
There is a medium close shot of him
against the sky, supposedly sitting on
the horse, but actually he is seated on
the ground. This scene is followed by a
close shot of the wooden horse's leg
breaking. Then there is a cut back to
the medium close shot of the actor. He
leans out of the scene and throws his
legs into the air. A quick "pan" down-
ward to a view of the ditch and a full
shot of the actor lying still at the bot-
tom of the ditch, with the remains of
the sawhorse, complete the sequence.
Near the end of the feature, the hero
commands the mystery man to "take off
that mask!" To get a quick zoom up
to the surprised face of the hero, the
cameraman stood on the bumper of a
car, and the car was driven forward a
foot or so. This foreward motion proved
to be too slow for the effect needed. So
the cameraman tried holding the cam-
era firmly in his hands while he leaned
as far backward as possible. (He stood
with one foot far behind the other.)
Then he swayed forward as fast as pos-
sible, carrying the running camera
focused on the hero's face. The result
was just right.
For our riding scenes, we were for-
tunate in finding a hill that runs paral-
lel with a highway. By shooting from
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122
MARCH 1942
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Distinctive
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a car, we could film long dolly shots of
the hero chasing the outlaw. The cam-
eraman shot these scenes by lying on
the roof of the car. Naturally, we cre-
ated quite a show for drivers along the
highway. Many stopped and asked
what we were doing. One man took
shots of filming, and the next day he
gave us a tripod and a viewer. The
tripod came at a most crucial moment,
because our own tripod was patched
with tape in three places, after it had
been trampled on by horses, and once
it had fallen from a cliff.
A bookcase
editing desk
[Continued from page 116]
current is on. At each side of the cen-
tral compartment are shelves to accom-
modate 400 foot reels of 16mm. film in
cans.
The desk compartment is also equipped
with a twelve inch Lumiline light with
attached switch concealed behind the
apron, as indicated on the plan. This
apron, of one half inch pine, shields
and diffuses the light source, and the
light itself gives good general illumina-
tion to the entire working surface of the
desk. In operation, the editing board is
lifted forward, resting on the lowered
drop front of the desk.
The top drawer of the right hand ped-
estal contains a piece of one inch mate-
rial, cut to fit the inside dimensions of
the drawer, bored through with twenty
five holes of two and one quarter inch
diameter. The bottom of the drawer,
which forms the bottom for these twenty
five compartments, is suitably num-
bered, so that film placed in each com-
partment can readily be identified. In
use, strips of film or titles are placed in
compartments as they are cut, and the
subject and compartment number are
noted on a pad. Reassembling and splic-
ing are thus easily and quickly accom-
plished by reference to the pencil notes.
The top left hand drawer is made
only fourteen inches deep, to allow room
at the back of the drawer for the recep-
tacle outlet previously referred to.
The backs of the cabinet and of the
desk pedestals are one quarter inch ply-
wood, as are the shelves for the film
cans.
In the construction of the piece, rab-
bet grooves were run on a power saw
for all joints, which were secured with
one and a quarter inch No. 6 screws
and Casco glue, which provided a strong
construction. However, flush joints, prop-
erly glued and fastened with screws,
would give a good result. The top sec-
tion was completed first and was fast-
ened, as indicated, to the desk top. The
pedestals were then fastened to the desk
top, working from the top. All exposed
screws were set in three eighths inch
counterbored holes and were covered
with plugs that had been cut with a
plug cutter on a drill press from body
material. If plug cutting equipment is
not available, plugs can be purchased
in any type of wood for the purpose in-
dicated. Plugs were set with the grain
of the body material; then they were
glued and sanded flush. This method of
covering the screws presents a very at-
tractive appearance, simulating the peg
fastenings used in colonial furniture;
but it is not necessary, as plastic wood
could be used for covering screw heads.
The front and back aprons joining
the desk pedestals were cut flush and
were screwed fast through the sides of
the pedestals. Drawer pulls were cut
from the body material, although suit-
able wooden pulls could be purchased.
Carving on the drop front of the desk
and routing on the drawer fronts were
done with a quarter inch router bit in
the drill press. It is strongly recom-
mended that exposed metal hardware
be avoided, as it detracts from the fin-
ished appearance of knotty pine.
I found that the power saw and drill
press contributed greatly to the speedy
construction of this piece of furniture,
but it could easily be constructed with
only basic hand tools — actually, I think,
with only a saw, hand drill, screw driv-
er, plane and plenty of sandpaper.
The clinic
[Continued from page 115]
as axles upon which the spools can
revolve. The axles should fit loosely so
that they may be removed easily. In
use, the device is held in the left hand,
while the spool upon which the film is
being taken up is revolved by the right
hand.
Ready made end titles Many fic-
tion mag-
azines conclude each story with a deco-
rative design or cartoon, in which are
incorporated the words, "The End."
Lloyd G. Miller. ACL, noticed this
point and made a wide collection of
various types of these designs for use
with his films. The designs are usually
of a size that will fit well in the com-
mon small titlers, and it is quite easy
to find appropriate material to suit al-
most any type of film subject. Often it
is possible to paste the design on a pat-
tern background.
PROTECT YOUR CAMERA SPOOLS
Do not drop your camera spools.
They may strike the ground or the
floor in such a way as to dent the
flange or to bend it slightly. This
occurrence will cause the film to bind
on the camera takeup, and, as a result,
a valuable film may be spoiled. Metal
spools are at a premium now, so it
behooves one to be especially careful
in this respect.
MOVIE MAKERS
123
THE NEW ACL LEADER
THE new League leader, just released
in both 8mm. and 16mm. film widths,
combines tricks of animation and opti-
cal printing with straight filming of an
unusual type. It was created by Ted
Nemeth, an outstanding producer of
professional leaders and industrial films.
In the League leader, we feel that he
has done some of his most interesting
work.
The new leader represents a special
innovation, in that it is both a leader
and a "The End" title. The first part
of the film strip is spliced to the begin-
ning of a picture to serve as an intro-
ductory leader, while the latter part is
spliced at the end to serve as a final
title. Two blank frames separate the
leader section of the film strip from
'"The End" title, making it easy for one
to find the spot at which to cut the
leader into its two sections.
League leaders are sent automatically
to ACL members when they renew their
memberships. They are also available
at cost prices as follows: 8mm., fifty
cents; 16mm., sixty cents.
Although the leader must be seen to
be appreciated, we shall try here to give
a brief description of the effects that
are involved.
At the fade in. a film reel is seen
silhouetted against a pattern of light
rays and shadows on the background.
The reel fills almost the entire screen
and, in a moment, the words Member of
wipe across at the upper left. A large
A now zooms up at the upper center of
the film reel, and it is followed by the
letters C and L, as they zoom into place
below the A. The remainder of the word
Amateur wipes up after the A, the bal-
ance of the word Cinema wipes down
opposite C and the rest of the word
League wTipes up to complete the word
suggested by the L.
The title lettering is next completely
wiped off by a vertical "barn door" wipe,
and a square iris opening zooms for-
ward, to block out the reel silhouette
and at the same time to reveal A C L.
in block letters, slowly revolving on a
background of spiral lines. The letters
T, H and E are animated into view, and
beneath them the word World wipes up
at the same time as the word Wide
wipes down. Below' this group of words,
the phrase Organization of Movie Makers
comes into view by a "screw7ball" or
swirl wipe. All this lettering is now
wiped out by a diagonal "barn door"
wipe, and the ACL background fades
out.
The End title has only one back-
ground, this being the letters A C L in
block type with rays of light in motion,
announcing!
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5515 SUNSET BLVD., HOLLYWOOD, CALIF.
MANUFACTURERS OF SOUND-ON-FILM
RECORDING EQUIPMENT SINCE 1931
124
MARCH 1942
Commonwealth
establishes
RENTAL LIBRARY
IN 16MM SOUND
The best film news of
the year for home movie fans!
Yesterday, you could only buy
these outstanding quality films
from Commonwealth. Today, you
may not only buy them — -but rent
them ! Top producers and stars . . .
biggest Hollywood hits! Have
such stars as Hedy LaMarr,
Charles Boyer, Leslie Howard,
etc. perform in your shows!
FREE!
New Film Library Catalog.
Write to Dept. 24 for your
copy today!
COMMONWEALTH PICTURES
CORPORATION
729 Seventh Ave., New York, N. Y.
Have you seen the brand new
Amateur Cinema League Leader?
It's the latest in movie trick work — the best
leader yet. Renew your ACL membership in
advance and get one free.
AMATEUR CINEMA LEAGUE, INC.
420 Lexington Ave. New York, N. Y.
LEARN TO PRODUCE
SOUND Fl LMS
IN A PROFESSIONAL STUDIO
Writing, filming, editing, recording, direct-
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COOPERATIVE FILM WORKSHOP. Stu-
dents produce film for commercial distribution.
HARTLEY SCHOOL OF FILM MAKING
20 West 47th St.. N. Y. C. LO 3-2343
Basssaif*
only $23.65
for this Craig Jr.
16mm Editor
(discontinued model)
Formerly $3 I .50
. . . complete editing
outfit ... no flicker
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complete. . $23.65
^H-B'.'J|i.M.I».|Ji4JWJ!H*M.«HW
radiating from the upper left corner, as
part of the pattern. The words The End
are revealed, small in size, by a vertical
"barn door" wipe; then they zoom for-
ward until they fill the screen before
fading out. At this point, the ACL
fades out, and thus ends the leader.
Practical films
[Continued from page 108]
Agriculture, Engineering and Home
Economics. In production are similar
movies about the divisions of Science
and Veterinary Medicine. These sub-
jects are on 16mm. black and white
film, with sound to be added later.
Three Kodachrome silent films of scenes
about the campus are Campus Events,
Campus Beautiful and Campus Person-
alities. All new material, according to
H. L. Kooser, director, is being shot at
sound speed for the addition of com-
mentary.
Dental Film in Color
Practical Preventative Orthodontics is
the title of a recently completed dental
production by Max J. Futterman, D.D.S.
With the assistance of Leo Schwartz,
D.D.S., Dr. Futterman filmed this 700
foot film of corrective dentistry.
"City" Honored
So?ig of a City, which won Honorable
Mention in the Special Class for 1941,
was produced by John Flory, ACL, for
the Cleveland Trust Company. The
film had its premiere on September 9
before a combined meeting of the
Cleveland Chamber of Commerce, the
Cleveland Advertising Club and the
Financial Advertisers Association. It is
a sweeping film record of that city,
complete with a musical background
by the Cleveland Symphony Or-
chestra, conducted by Dr. Rudolph
Ringwall. With a running time of forty
five minutes, this 16mm. Kodachrome
work was produced, written and di-
rected by Mr. Flory. Other credits are:
cameraman, Richard C. Taylor; sound,
Dr. J. S. Begun, Al Dank and Thomas
Lynch; narrator, Nick Burnett of Sta-
tion WHK. Mr. Flory's production as-
sistants were James Card, jr., John
Paul Miller, Frank Bican and James
Riley.
The film's distribution is limited, for
the present, to schools, clubs and other
groups in the Cleveland area. A card
to Mr. Flory, 2265 Stillman Road,
Cleveland Heights, Ohio, will bring in-
formation on future additional distribu-
tion.
Magazine Film
Castle Films, of New York City, pro-
duced, last spring, The Making of a
Magazine for the C. T. Dearing Print-
ing Company. The film presents the
facilities of the Dearing company for
printing and distributing publications
with large circulations. In 16mm. size,
with sound, the film contains both color
and black and white scenes. The credits
are as follows: director and writer, Wil-
liam B. Laub; cameraman, John Le-
panne; narrator, Erik Rolf; music,
Edward Craig.
A.R.P. Teaching Films
Walter O. Gutlohn, Inc., of New
York City, is distributing two A.R.P.
films which were made in England dur-
ing the "blitz," to instruct civilians in
home defense measures. Stop that Fire!
is a one reel, sound movie describing
various ways of dealing with incendiary
bombs and the fires caused by them.
The Warning, a three reel, sound on
film production, is a lengthier and more
comprehensive treatment, setting forth
in some detail the proper steps for the
civilian to take before, during and after
an air raid. This film is distinguished
for its remarkable editing and cutting;
the confused inferno of London ablaze
becomes a highly instructive, well knit
production. The Warning was produced
by Alliance Pictures, under the direc-
tion of Audrey Baring. R. O. McNaugh-
ton edited the film and Ronnie Munro
handled the music.
Alaska for All
After a stay of two years in Alaska,
J. Albert Paradis, jr., ACL, has com-
piled a film record, called Alaska —
Uncle Sams Attic. In 1200 feet of
Kodachrome, the audience travels to
the towns of Ketchikan, Juneau, Sew-
ard, Anchorage and Fairbanks, among
others, and sees such sights as the In-
side Passage, Mendenhall Glacier and
the Ice Carnival in the Arctic Circle.
Mr. Paradis shows this film to clubs
and other organizations, along with an
interesting display of Alaskan curios.
Cattle Ranch Filmed
Arthur B. Ramsey, of Ramsey Pic-
tures in Oklahoma City, announces the
release throughout the State of an 1100
foot sound movie of the Turner ranch,
near Sulphur. Okla. The picture was
produced for Roy J. Turner and shows
the operation of a modern Hereford
cattle ranch over a period of a year.
Hay bailing, cattle vaccination, train-
ing for show, roundup and annual
shows are among the activities de-
picted. Color prints are being distrib-
uted in Oklahoma by its two univer-
sities and by both the 4-H and FFA
Clubs. A musical background by the
orchestra of Ramsey Pictures and a
commentary make this a well rounded
production.
MOVIE MAKERS
125
A THREE FAMILY FILM
THREE families in Salt Lake City,
fathers, mothers and children, co-
operated this past year to make a de-
lightful film version of the fairy tale,
Snow White and Rose Red. The grown-
ups collaborated in preparing the sce-
nario which the children acted, and all
three fathers, R. LeRoy Fletcher, ACL,
John Huefner and Theo Merrill, filmed
the story. There seem to be four rea-
sons for the charm which pervades the
film — a pleasant story, attractive chil-
dren as actors, delightful sets and cos-
tumes and, in general, sound camera
work. We sense that everybody con-
nected with this film thoroughly en-
joyed doing his share to make it a suc-
cess. The story behind the production
attests to the truth of this statement.
The plan was hatched, according to
Mr. Fletcher, last winter, and the six
adults met twice a month to plan and
to write the scenario, which was to be
shot during the summer. During the
latter part of June and July, the fam-
ilies went on location to a canyon near
Salt Lake City. While the men con-
cerned themselves with problems of
lighting and exposure, the children
played and hiked near by. When all
was in readiness, the wives dressed the
young actors and actresses in their
homemade costumes, and the shooting
began, to be terminated at noon by a
picnic lunch. The children delighted in
the work and looked forward eagerly to
these trips to the canyon.
This 400 foot color film represents a
cooperative effort which proved to be of
considerable value to all concerned. Mr.
Fletcher writes, regarding the three
cameramen. "We all worked together in
establishing our location, exposure and
action, which benefited each of us very
much. and. after our experience, the
consensus of opinion was that a filmer
must learn his camera, exposure meter
and the condition under which he is
filming. \^ e also decided that a camera-
man has many individual problems to
overcome which are not in the books,
problems that you must work out for
yourself. I am sure that, if we had not
filmed this picture as a group, it would
never have been filmed."
Snow Jf kite and Rose Red is the typs,
of film to which more movie makers
could profitably turn their talents. Lit-
erature is full of delightful tales to
film. Many of them are simple enough
for the beginner, while others will pro-
vide a real challenge to one's cinematic
technique. Also, a cooperative effort
such as this, which included three whole
families, appeals to young and old alike,
whether they appear before the camera
or in the audience.
S5* A 1
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However, ice have lenses of several types and
sizes in stock and ice may occasionally be
able to offer a small part of our current
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Please anticipate your needs as far ahead as
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will do our best to serve you.
There is a Goerz hens
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To help you in the selection of the proper
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ir 317 East 34th Street New York -*■
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VAPORATE CO INC
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Scenes from "Snow White and Rose
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716 No La Brea
Hollywood
126
MARCH 1942
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3 ^abtotir 3te porn
A beautiful color motion picture of sincere re-
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The words and wisdom of Jesus, beautifully pre-
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reels, 16mm. color & sound.
Gutter Utttle Cfitlbren
The Master's ministry in healing the sick and
bringing comfort to the afflicted. His love for
the little ones. 3 reels, 16mm. color & sound.
Springtime
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Not a religious film for any single creed, but a
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ASTOR PICTURES CORP.
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You will enjoy movie making
more, if you subscribe to
MOVIE MAKERS!
Each month, it brings you:
• Interesting articles on cine accomplish-
ments
• Ideas for films
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projection technique
• Latest news of new equipment
• Latest news of new film offerings
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• Latest news of amateurs and clubs
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MOVIE MAKERS
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Amateur Clubs
[Continued from page 109]
the Black Hills. Yellowstone and the
Yosemite, while Guy Bingham carried
on the tour through Banff, Lake Louise,
Jasper Park and the Columbia Ice-
fields. The club has just concluded its
annual general contest, under the
guidance of Lyle Porter, Harry Eggert,
ACL, and Algot Peterson. Decision of
the members' board of judges will be
announced next month.
Second for Calumet New officers
for 1942
were announced by the Calumet Movie
Makers, ACL, in Hammond, Ind., at the
group's recent second annual dinner
meeting. Those elected are Oscar W.
Clements, president; James Whitehead,
vicepresident; Virgene Borowiak, sec-
retary; William Jenz, treasurer. Others
appointed by the president include Joe
Potraza, program chairman; Merlyn
Day, scenarios; James Gudde, equip-
ment; C. V. McArty, research; Janet
Petosky. publicity; Joseph Hayden, ed-
itor of The Projector, club news letter.
Members' films seen at the dinner meet-
ing were Dad Enjoys the Evening Pa-
per, Wisconsin Dells, And So They
Were Married and Westward Ho.
PaSSaiC Studies How To Make
Your Movies In-
teresting was the subject of a discus-
sion and demonstration at a late meet-
ing of the Passaic Cinema Club, in
New Jersey, by Russell C. Holslag.
ACL, advertising manager of Movie
Makers. Mr. Holslag illustrated his
points with Incident on Christmas
Morning, his own production, and with
Riches From The Sea and Sahuaro
Land, from the Club Film Library of
the League. Members' films were
screened by Helen Banker. Walter P.
Koechel. ACL, and Arthur Labusohr.
and they were followed by a discussion
of their qualities by Mr. Holslag.
Parkchester plans Members of the
ParkchesterCine
Club, recently formed unit in New
York City's northern residential area,
already are engaged in the production
of Well, I'll Be . . . !, a short comedy of
marital difficulties by George Kirstein.
president of the club. The production
is reported to be getting good coverage
by The Review, local paper in the Park-
chester development.
Manhattan Tel The Projection
Group of The Tel-
ephone Camera Club, ACL. of New
York City, gathered recently for a joint
contest of film slide members and movie
makers. Five class awards were made
in the slide competition, with two each
going to Jonn ivieilvilia and Jack
Scheide and one to Lee Hartwell. Louis
Lind took Best in Show in the cine con-
test, with Adirondack's in the Summer,
followed by Robert Anspach, with
Barney's Chemistry Set, and Mr. Gra-
ham, with W ards of Father Knicker-
bocker. Entries in the movie contest
were judged by the consulting staff of
the League.
Chicago Contest The Chicago
Cinema Club,
ACL. in collaboration with the Esquire
Theatre of that city, has announced the
winners in its late contest for amateur
films, as follows: 8mm. Class — Meet
Mr. Chips, by Charles V. Carlstrand;
Round The Clock, by Eveline E.
Blumenthal; Song of Autumn, by C. C.
Hammack; Kings Canyon National
Park, by Edward P. Bezazian; 16mm.
Class — Santa Claus, by Glenn A. Burrs;
Glacier National Park, by V. H. Sick-
inger; Two Perfect Weeks, by W. F.
Hinkle; New York World's Fair, by
Mrs. Willa T. Doubson, ACL. The Chi-
cago Cinema Club is planning a thor-
oughgoing program of film projections
for the benefit of the American Red
Cross and the United Service Organiza-
tions, with Dr. Charles A. Cameron,
ACL, in charge of arrangements.
San Francisco dines Despite the
threat of air
raid alarms, members of the Cinema
Club of San Francisco gathered late in
December for the group's annual dinner
and election meeting. New officers for
1942 are announced as follows: Edwin
L. Sargeant, ACL, president; Anthony
H. Kleyn, vicepresident; Fred C.
Youngberg, treasurer; Lawrence J.
Duggan, ACL, secretary. Serving with
them on the board of directors are John
B. Smurr. ACL. R. E. Pettingill and
Fred A. Wells. Ice Follies of 1941 and
Summer Vacation, both by Dr. J. Allyn
Thatcher. ACL, were featured on the
dinner program. With the Westwood
Movie Club in the same city, the San
Francisco groups are the first in the
country to announce blackout facilities
at their meeting places.
Millville forms Amateur movie
makers in south-
ern New Jersey are invited to get in
touch with the Millville Society of
Cinematographers, a new unit serving
both 8mm. and 16mm. filmers. Arthur
Radcliffe. 513 North 7th Street, is sec-
retary, and he will send further data on
the club's monthly meetings on third
Tuesdays.
Winners in Westwood Henry
Swanson
has been announced as first award win-
ner in the recent annual contest of the
Westwood Movie Club, in San Fran-
cisco, with his comedy, Wedded Blis-
MOVIE MAKERS
ters. Other place winning films were
Fourteen Days, by Ed Franke; Eques-
trienne, by Don Campbell; Magic
Mush, by Eric M. Unmack, ACL;
Master and I Go a 'Romping, by Donald
Day; Christmas Memories, by Alma
Weiser and Clyde Wortman, ACL. Of-
ficers for 1942 are Dr. I. C. Gobar,
ACL, president; Mr. Wortman, vice-
president; Louise Clapp, treasurer; Mr.
Unmack, secretary.
Birds in Schenectady Members
of the
Schenectady Bird Society were guests
of the Cine Group of the Schenectady
Photographic Society, ACL, in New
York, at a recent featured screening of
Through the Window Pane and Ma-
dame Hummer at Home, award win-
ning films by Mrs. Warner Seely, ACL,
of Cleveland. The pictures were ac-
companied by a well selected scoring
of music, played on the double turn-
table. Rounding out the program was
a three reel color film, sponsored by
the General Motors Company, of The
Futurama, the famous exhibit at the
New York World's Fair.
Indianapolis offers The Indian
apolis Ama-
teur Movie Club joins the ranks of the
many groups already offering their
services to local Civilian Defense units,
the American Red Cross and United
Service Organizations in making and
showing films for civic purposes. Fea-
tures of late programs for this club
have been the screening of an 8mm.
film of dental surgery, by Clyde Cul-
bertson, and a sound picture of the op-
eration of the electron microscope.
Union County film Members of
the Union
County Cinema Club, in New Jersey,
have adopted the suggestion of Sophie
Arndts, chairman of the script commit-
tee, that the next club production
should be based on / Hear America
Singing, the poem by Walt Whitman.
Production will be on 8mm. stock. Re-
cent programs of the Union County
group have featured lectures by W. A.
Reedy, of the Weston Electrical Instru-
ment Corporation, on Exposure Prob-
lems, and by Richard Slauer, ACL, of
the Westinghouse Electric Company, on
Lighting for Home Movies.
In Oklahoma City With a board
of judges
drawn from the neighboring Tulsa
Am-Mo Club, members of the Movie
Makers Club of Oklahoma City saw at
a recent meeting the twelve entries in
the group's annual contest. Place win-
ners, in order, were An Evening at
Home, by H. A. Houston, ACL; Christ-
mas Card, by Frank Allen, ACL;
Christmas, 1940, by Elmer J. Nienhaus;
Colorado, by Robert Bergthold. The
judges were J. B. Close, R. C. Crosley,
127
ACL, and C. A. Patchen. At a later
general meeting, the Oklahoma City
group saw Yellowstone National Park,
by Mr. Houston, and record pictures
of the 1941 Oklahoma University
R.O.T.C. Camp, at Fort Bliss, shown
through the courtesy of Captain
George Shirk.
Canadian contest opens
[Continued from page 113]
and, in that event, he would select an-
other of the cooperating Provinces as
the subject for a second picture. Each
of the entries must be a separate movie,
however, and each will be judged inde-
pendently of the other. So, if you want
to try your luck on British Columbia
and also want to make a film about
Prince Edward Island, there is nothing
to stop you. However, keep each film a
separate subject.
The prizes are munificient. If you
make the best film of one of the co-
operating Provinces, you will win an
all expense tour of that Province for
your vacation in 1943. The tours, which
vary from a $500.00 all expense tour
offered by British Columbia to a stay as
long as four weeks in the case of Prince
Edward Island, were planned by the
Provincial governments. They offer lux-
urious accommodations, special travel
arangements and splendid movie mak-
ing opportunities. The lucky prize win-
ners will be the guests of the Provin-
cial governments for three thrilling
weeks. The all expense prize tours are
offered for two persons, so that friend
wife or friend husband can accompany
the winner.
In addition, the filmer who makes the
movie that is judged to be the best of
the four winners will receive a cash
prize of $500.00.
The contest has few technical rules
-—the entries may be black and white
or color, although they must be at least
400 feet in length. They must be made
on 16mm. film and they must be silent,
although they may be filmed at twenty
four frames a second, so that the owner
can add sound to his picture, after the
contest, if he desires. Phonograph rec-
ords cannot be received in the contest,
and written narrations are excluded; so,
each entry must be a silent picture,
complete in itself. The cinematography
of each film must be the work of the
contestant, but he may include profes-
sionally made titles if he likes.
The board of judges, who will judge
the entries on the basis of good movie
making technique, continuity and inter-
est of subject matter, will be John
Grierson, Canadian Government Film
Commissioner and famous authority on
"documentary" films; Alfred Hitch-
cock, the great British director who is
now working in Hollywood; and Arthur
L. Gale, editor of Movie Makers.
American Cinematographer
Hand Book and Reference Guide
THE 1942 EDITION
RIGHT OFF THE PRESS
THE GREATEST HAND BOOK
OF ITS KIND EVER PUBLISHED
Movies or Still
Professional or Amateur
Charts and tables for 35mm.
16mm and 8mm sound and si-
lent cameras and projectors,
miniature cameras, cine film,
filters, lenses, make-up, screen
sizes, exposure meters, photo-
flood, photoflash, and infra-red
blackout lamps, timers, calcu-
lators, equalizers, etc., in fact it's
just jammed full of the right
kind of information. 250 pages
of essential material for every
camera user. Pocket size.
PRICE $3.50
At your photographic dealer or
Postpaid to any address.
Send for descriptive circular
American Cinematographer
Hand Book and Reference Guide
1165 N. Berendo St., Hollywood, Calif.
WINDBACKS
FRAME-
COUNTING
Guaranteed accurate. Expertly engineered
and installed. Money-back guarantee.
Keystone . . . SI 7.45 • Filmo . . . S23.50
Eastman . . . S23.50
Precision Built Accessories for Every Need
Write Us Your Requirements
CUSTOM BUILT CAMERA ACCESSORIES CO.
5710 Cedar Springs • Dallas, Texas
&£) KODACHROME (JKZ)
Now ready: 400 ft., 16mm. Kodachrome copies of "The
Canadian Rockies," $60.00. Also, in originals @ 18c. ft.,
any footage of iTosemite. desert scenes and cactus blossoms,
zoo animals, San Francisco and other California scenes.
35mm Kodaslides (2x2), 50c each.
GUY D. HASELTON
7936 Santa Monica Blvd.
Hollywood. Calif.
QhtikM Sound
IS COMlTsiG TO l6MM FlLlA
WATCH FOR IT!
J.A.MAURERJNC. -J
1 JT BAST 2»» ST. NEW YOKK
— J
MAKE TITLES IN 6 COLORS!
ON PHOTOGRAPHIC
BACKGROUNDS
NE W—INGENIO US
A-to-Z COLOR
TITLE Sfi.50
OUTFIT wO
Everything you need to
make thousands of titles.
It's easy — it's fun.
Outat includes: A-to-Z Title Maker; 30 Figurettes in
color: 12 sheets of 8" x 10" clear, washable. Acetate
Film: 6 jars of special Colors (Red. Yellow. Blue.
Green, White, Black) ; 10 Photographic 8 i 10 Back-
grounds; Title Frame (7" x 9") area; Tracing Paper;
Brush; Simple instructions, etc.
Free Sample Title Kit • Write today.
See your dealer or send S6.50 direct to
A-to-Z MOVIE ACCESSORIES
175 FIFTH AVE.. Dept. M32, NEW YORK. N. Y.
128
MARCH 1942
85
COMPLETE WITH DURABLE
FIBRE TRIPOD COVER
Camart Professional Type Tripod
Finely constructed tripod gives spring or motor driven
camera rigid support and exceptionally smooth pan
and tilt movement. Ideal for all 16mm or 35mm
Eyemo or Devry cameras. Special head accommodates
Cine-Special at no extra cost. Write for circular.
CAMERA-MART,//*-. 70 W.455T.N.Y.C.
CIVILIAN
DEFENSE FILMS
"On the spot" movies
of the home front in
Britain, Canada, China.
USSR.
Write National Defense
Catalog "MM".
BRANDON FILMS 1600 Broadway New York
THE NEW BINDER FOR THE 1942 NUMBERS OF
MOVIE MAKERS WILL SOON BE READY.
Made of black fabrikoid and handsomely stamped in gold,
MOVIE MAKERS binders are equipped with wire fasten-
ers so that copies can be readily inserted or removed.
Binders $1.50
MOVIE MAKERS
420 Lexington Ave. New York. N. Y.
We know you're proud of your 16 mm movies I We're
proud of our titles, too! They'll give your movies
that Hollywood touch.
Our Kodachrome titles sparkle with a brilliant array
of color.
SOUND TITLES— 10 words S I .50
KODACHROME TITLES— 10 words: $2.50
SEND TRIAL ORDER TODAY— 10 words of copy on
silent film. Postpaid for only S 1 .00
FILMACK LABORATORIES
1323 S. Wabash Ave. Chicago, III.
ARE YOU INTERESTED IN THE STORY
OF LIVESTOCK?
Two important 16mm. COLOR FILMS on this
subject are offered for
FREE LOAN
"SEEN FROM THE TOP RAIL"
3 Reel*. 16mm. Silent Kodachrome
"THE LANCASTER LIVESTOCK DAILY MARKET"
3 Reels. 16mm. Silent Kodachrome
to Agricultural Groups, Schools, Clubs, etc.
I M U„„L^„ 1^*. UNION STOCK YARDS
J. M. l-IOOber, InC. Lancaster Penna.
MAKE GOOD FILMS BETTER
with
PARK CINE TITLES
Crisp! Artistic! Economical!
Give meaning to your films.
Send for Latest Catalog
PARK CINE LABORATORY
120 West 41st St. New York City
Entries are to be sent to National
Film Board of Canada Contest, care of
Canadian Trade Commissioner, Tribune
Tower Building, 435 North Michigan
Avenue, Chicago, 111., so that contest-
ants need not send their films out of
the country to have them judged.
All films entered in the contest re-
main the property of the contestants,
but the National Film Board reserves
the right to make copies of all prize
winning films and to use and to dis-
tribute the copies in any way that it
sees fit.
So, if you are thinking of traveling
in Canada this summer, here is a big
inducement — a glorious vacation in
1942 and the possibility of winning
$500.00 in cash and an all expense
tour in 1943. In addition, you will have
the satisfaction that your money is be-
ing spent in a country that needs all
the American dollars possible to help
carry on its magnificent war effort.
News of the industry
[Continued from page 112]
The price of the new Kodascope Six-
teen-10, with two inch lens, 750 watt
lamp and 400 foot reel, is $80.00.
Castle galaxy Castle Films, Inc.,
of 30 Rockefeller
Plaza, New York City, has released
three new films of the greatest timeli-
ness. These are Britain's Commandos
in Action, Russia Stops Hitler and the
very latest, Bombing of Pearl Harbor —
Burning of S.S. Normandie. The first
of these subjects is of unusual interest
because the camera was able to capture
practically every detail of a daring raid
of the Commandos on Nazi held Nor-
wegian islands. Scenes include prepara-
tions, the bombardment of the coast,
landing the assault boats, fighting in
the streets and burning buildings and
supplies. The final withdrawal regis-
ters a complete destruction of the
enemy's war supplies.
Russia Stops Hitler includes battle
movies never before seen and shows
Russia's magnificent counter assaults to
the German invasion. Stalin reviews
Russia's fighting might in Moscow be-
fore the battle. Soviet fighters are
shown in furious bayonet charges
against the enemy. The effect of the
freezing cold is seen. The mechanized
phases of the struggle are presented,
as tanks and airplanes thunder into ac-
tion. German divisions retreat and
abandon their heavy equipment.
The U. S. Navy Department has just
made available motion picture records
of the surprise air and sea assault on
Pearl Harbor by the Japanese on De-
cember 7. Previously withheld, these
graphic scenes are now included in a
new film of redoubled interest value by
Castle. The second portion of this reel
covers the burning of the S.S. Nor-
mandie as she lay at her pier, being
readied for war service. Special Castle
cameramen recorded the great debacle
as the huge ship turned over on her
side.
All three of these films are to be had
in 8mm. silent and in 16mm. silent and
sound, at regular Castle prices.
Old timers A. new series of amus-
ing home movies,
known as Flicker Frolics, has been in-
troduced by Raygram Corporation, 425
Fourth Avenue, New York City. Hilari-
ous doings, in which Keystone Cops,
deep dyed villains and hair breadth es-
capes figure, may be viewed in the 180
foot, 8mm. film, A Race for Life, which
lists at $5.50.
16mm. plastic reel Success in its
pioneer devel-
opment of the 8mm. projection reel in
molded plastic has now encouraged the
American Molded Products Company,
1751 Honore Street, Chicago, to offer
its new 400 foot, 16mm. transparent
plastic reel. The new reel lists at sixty
cents. Also new are brown, mottle
finished plastic "cans" for 8mm. pro-
jection reels. The 200 foot size is forty
five cents and the 300 foot size is fifty
five cents. These new plastic products
may be inspected at almost all photo-
graphic dealer stores.
Albert President A substantial
and versatile
new tripod is offered by the Albert Spe-
cialty Company, 231 South Green,
Street, Chicago. It is called the Presi-
dent and incorporates a tilt top which
allows the camera to be pointed in any
direction. An extension handle affords
the user complete control. The leg con-
struction is of rigid, three section tubu-
lar steel. Leg tips are reversible, to ter-
minate in steel points or in rubber. A
quick leg lock is adjustable to heights
from twenty eight to sixty two inches.
The price is $25.00.
New A to Z color outfit Thesuc-
cess of
the A to Z original color title idea, by
which a special color kit is used to
trace novel titles for Kodachrome shoot-
ing, has been' amplified and completed
in the new A to Z Color Title Outfit,
offered by A to Z Movie Accessories,
175 Fifth Avenue, New York City. The
new outfit, which sells for $6.50, con-
tains a fuller supply of all the mate-
rials needed to make a great variety of
color titles. Included are ten photo-
graphic backgrounds, six jars of bril-
liant colors, thirty Figurettes, a large
assortment of alphabets, tracing paper
and a background board and instruc-
tions.
MOVIE MAKERS
129
Films you'll want to show
Non theatrical movie offerings
for substandard projection
B Flash Gordon is a 16mm. serial fea-
ture, in sound, offered by the Filmo-
sound Library of the Bell & Howell Com-
pany, 1801 Larchmont Avenue, Chicago.
In it, the scientific superman of the
future makes use of such implements
as ray guns, atom furnaces, liquid fire
and radio telescopes in his struggle
with inhabitants of other planets with
weird populations
' Topper Takes A Trip, 16mm. sound,
running time, eighty two minutes, is a
highly entertaining feature released in
16mm. by Post Pictures Corporation,
723 Seventh Avenue, New York City.
Some of the featured players are Con-
stance Bennett, Roland Young and
Billie Burke.
■ The Last Frontier, 16mm. sound on
film, in twelve separate episodes, is an
action serial that will please all audi-
ences, as it is a dramatization of Court-
ney Ryley Cooper's well known story.
This epic of the final conquest of the
West, in the days when the nation was
young, features Lon Chaney, jr., and a
supporting cast of excellent players.
The subject is released by Common-
wealth Pictures Corporation, 729 Sev-
enth Avenue, New York City.
B China Strikes Back, 16mm. sound,
running time, thirty three minutes, a
three reel feature filmed in the hither-
to inaccessible regions of North China,
is said to be a striking film record
of the unification of Free China to fight
off the invader. Exclusive pictures of
Chinese leaders, guerrilla fighters in
training and maneuvers are shown. The
subject is released by Brandon Films,
Inc., 1600 Broadway, New York City.
■ Land of the Incas, one reel, 8mm.
silent and 16mm. silent and sound on
film, is a colorful, active travel subject
that takes the beholder to the mountain
passes of Peru. Here are found descen-
dants of lost civilizations and monu-
mental remains of Inca and Spanish in-
fluence. Fine camera work is said to
characterize this informative reel, one
of the Adventure Parade series offered
by Castle Films, Inc., 30 Rockefeller
Plaza, New York City.
Buy CRAIG for
Better Editing!
The Craig Projecto-Editor
For "Action-Editing" the Hollywood Studio way I —
permits careful inspection of brilliant, flickerless
motion on its miniature screen. With the aid of
the CRAIG PRO.IECTO-EDITOK, many an unin-
teresting collection of random "shots" can be
easily transformed into smooth running sequences
. . . interest-sustaining continuities that everyone
will enjoy seeing.
8mm Model, complete with splicer, rewind
and film cement $37. 50
8mm Projecto-Editor alone 29. 50
16mm Model with Sr. Splicer and re-
winds 59.50
The Craig Senior Splicer
Makes professional splices easily — only four
simple operations and without wetting the
film. Equipped with cutter and dry scraper;
permanent splices are guaranteed accurate in
every detail to 1/1000 of an inch.
List Price SI0.95
■ AT ALL DEALERS.
WRITE FOR NEW, FREE FOLDER
CRAIG MOVIE SUPPLY CO.
1053 So. Olive St., Los Angeles, Calif.
SOUND ON FILM
Rent-Exchange-Sale
Modern High Grade Features & Shorts
CINE CLASSIC LIBRARY
1041 Jefferson Ave.
Brooklyn, N. Y.
8 ENLARGED <g ^* REDUCED Q
TO ID TO O
Black and White or Kodaclirome
GEO. W. COLBURN LABORATORY
Special Motion Picture Printing
II97-M MERCHANDISE MART
CHICAGO
QAtilUc) S(nmd
IS COMING TO l6MM FILM
WATCH FOR IT!
J.A.MAURERJNC
I1T EAST 24 ST, NEW YOHK
Mara-Movie
HEDITING
— makes movie editing
a pleasure. Has40 num-
bered sections to hold
8 or 16mm. scenes as
you cut them apart.
Take scenes from rack
and splice in continu-
ity. Movie editing is
easy with a Mara-
Movie Back.
COMPUTE OUTFIT, $1.75 Postpaid
2 for $3.25; 3 for S4.75 Mara-Movie Editing Racks
are 17% x 11 in. in size and have collapsible easels and
snug-fitting covers. Sections are 2 x 2 in. for 8 or 16mm.
coils. 100 printed continuity slips and simplified direc-
tions for movie editing furnished with each outfit. Order
one today. Edit your movies the easy way I Inquiries In-
vited from Dealers.
MARATHON PHOTO SUPPLY CO.,Box415-B,Wausau,Wis.
130
MARCH 1942
FREE FILM REVIEWS
You can borrow these new publicity movies without charge
THESE films, the latest publicity pic-
tures produced, are offered on loan,
without charge. Some may be available
to individuals, and others are available
only to clubs or groups. In certain cases,
the type of organization to which the
films are lent without charge is speci-
fied. To borrow these films for a screen-
ing, write directly to the distributor,
whose address is given. (Note carefully
the restrictions mentioned in each case.)
LATEST RELEASES
It Happened Here, 1200 feet, 16mm.
sound on film, black and white; pro-
duced by Hartley Productions.
Offered to: groups.
Available from: Church Mission of
Help, 27 West 25th Street, New York,
N. Y.
This film dramatizes the lives of two
girls who are trying to make a living
alone in a big city, and it shows the
friendly encouragement that is given
to them by the Church Mission of Help.
Shown, too, are some of the many ac-
tivities which make up the broad pro-
gram of this social service organization.
Listen— It's FM!, 2 reels, 840 feet,
16mm. sound on film, color; produced
by the Sales Education Section, Gen-
eral Electric Company, Bridgeport,
Conn.
Offered to: groups only.
Available from: C. R. Brown,
Visual Instruction Section, General
Electric Company, Schenectady, N. Y.
Listen — It's FM! describes in simple,
everyday language the operation of
radio, stressing the advantages of the
newly developed FM, or frequency
modulation, over the customary AM,
or amplitude modulation, system. By
means of analogies and colorful ani-
mation, we see how FM eliminates
static, interference and fading, while
at the same time it improves the tonal
quality of the reception.
Educator's comment: This is an
extremely instructive film for high
school, for trade school, for physics
classes or for adult radio clubs that
are studying frequency modulation. —
E.D.C.
Incredible Rio, 1 reel, 1100 feet, 16mm.
sound on film, color; produced by
Moore-McCormack Lines.
Offered to: groups only.
Available from: Miss Vera Fee,
Moore-McCormack Lines, 5 Broadway,
New York, N. Y.
This movie begins with scenes aboard
one of the Moore-McCormack ships en
route to Rio de Janeiro, one of the
ports on its cruise along the east coast
of South America. The travelers disem-
bark at Rio, ascend famed Sugar Loaf
Mountain and join the throngs at the
beaches, race tracks and golf courses.
Then they visit the churches and gar-
dens in the beautiful modern section
and in the picturesque old regions of
the city. The picture finishes with a
view of the famous Mardi Gras Carni-
val.
Educator's comment: Incredible
Rio is usable in junior and senior high
school classes which are studying that
city. — E.D.C.
Power for Defense, 1 reel, 16mm.
sound on film, black and white; pro-
duced by the Office for Emergency
Management.
Offered to: groups.
Available from: Y.M.C.A. Motion
Picture Bureau, 347 Madison Avenue,
New York, N. Y.; 19 South LaSalle
Street, Chicago, 111.; 1700 Patterson
Avenue, Dallas, Texas; 351 Turk
Street, San Francisco, Calif.
Power for Defense shows how the
defense industries that are located in
the Tennessee Valley draw their power
from the government dam projects in
the area.
Educator's comment: This is a very
good film for junior or senior high
school classes that are studying gov-
ernment power plants or defense in-
dustries.— E.D.C.
Men o' Defense, 1 reel, 16mm. sound
on film, black and white; produced by
Donald Manashaw.
Offered to: groups.
Available from: The Jam Handy
Organization, 19 West 44th Street, New
York, N. Y.
Men o Defense shows the modern
and spacious facilities of the Delehanty
Institute in New York City for training
men for national defense. With a com-
mentary by Alois Havrilla, the film
takes up in turn machine shop, weld-
ing and aviation work. Many different
processes of the machine shop, such
as the operation of lathes, millers and
grinders, drill presses and bench work,
pass before us, and we learn how both
arc and oxyacetylene welding are done.
The aviation sequence describes various
phases of airplane building.
The Ninth Inning, 4 reels, 16mm. and
35mm. sound on film, black and white
(also 2 reel version) ; produced by
Chicago Film Laboratory.
Offered to: groups only.
Available from: Lew Fonseca,
American League of Professional Base-
ball Clubs, 310 South Michigan Build-
ing, Chicago, 111.
The Ninth Inning is designed to
teach baseball to the youth of the na-
tion, by showing stars of the American
League in their specialties. Also, base-
ball "fans" have an opportunity to see
many of the "inside plays," which will
increase their enjoyment of the pastime.
Hitting, pitching and fielding sequences
in regular and slow motion, combined
with shots of the 1941 All Star game
and Yankee Dodger World Series,
make this film a "must" for all follow-
ers of our national game.
Conscience in Action, 600 feet, 16mm.
sound on film, color; produced by
Waldo E. Austin, ACL.
Offered to: groups, especially Com-
munity Fund organizations.
Available from: The Community
Fund of Roanoke City and County,
Roanoke, Va.
Based on the efforts of the Commu-
nity Fund in Roanoke, Va., this film
should prove to be valuable to other
similar groups throughout the country.
Conscience in Action shows graphically
the work that the local Fund is doing
in both white and colored charities. All
prints of the film were kept in constant
use during a Fund drive in October,
but they are now available for national
distribution.
RECENT RELEASES
Managing the Family Income, 1600
feet, 16mm. sound on film, black and
white; produced by the Jam Handy
Organization.
Offered to: groups only.
Available from: Household Finance
Corporation, 919 North Michigan Ave-
nue, Chicago, 111.
Managing the Family Income shows
how to make a budget as well as why to
make one. At a family conference, all
members work out a budget, to include
personal expenses, general household
necessities and payments on old bills.
Educator's comment: This movie is
suitable for high school classes studying
budget problems or consumer educa-
tion.— E.D.C.
FLOODS IN LAMP SHADES
If you use small flood bulbs in
regular lighting fixtures with parch-
ment or silk shades, the lamps should
be turned on only while you are tak-
ing pictures, for the bulbs become
quite hot after extended use, and they
may char or burn delicate materials.
I Cash required with order. The closing date for
the receipt of copy is the tenth of the month pre-
ceding issue. Remittance to cover goods offered
for sale in this department should be made to the
advertiser and not to Movie Makers. New classi-
fied advertisers are requested to furnish references.
■ Movie Makers does not always examine the
equipment or films offered for sale in CLASSI-
FIED ADVERTISING and cannot state whether
these are new or used. Prospective purchasers
should ascertain this fact from advertisers before
buying.
10 Cents a Word
Minimum Charge $2
| Words in capitals, except first word and name,
5 cents extra.
EQUIPMENT FOR SALE
■ BASS SAYS: Cine leadership displayed more
than ever by magnificent choice of fine equipment
in these trving times. USED CAMERAS: 8mm.
Bell & Howell Single 8, //3.5 lens, case, $22.50:
Smm. Keystone, //3.5 lens, $18.50; 8mm. Revere.
f/2.5 lens, case, $43.50; 16mm. Bell & Howell
Model 75, Cooke f/3.5 lens, $34.50; 16mm. Bell
&- Howell 70A, f/3.5 Cooke, $44.50; 16mm. Bell &
Howell 121 Magazine, 1" //1.8 focusing, $77.50;
16mm. Bell & Howell 70DA, 1" f/l.S Cooke,
20mm. //3.5 Cooke and 3" f/4 Wollensak, case.
S235.00; 16mm. Bell & Howell Automaster, 1" f/2
Xenon, 2" f/2. 8 Acura, 15mm. f/2.7 wide angle.
case, $272.50; 16mm. Victor 3, 1" f/2.7, $47.50:
16mm. Victor 3, 1" Cooke focusing mount, 1"
//1.5 Wollensak, 3" f/4 Wollensak, $125.00;
16mm. Simplex, magazine, 1" //1.9 with optical
finder, 3" //4.5 Trioplan telephoto, case, $89.50;
16mm. Movikon, Sonnar //1.4. coupled range
finder, case, $295.00. LENSES: 3" //1.5 Kino
Plasmat fitted for C mount or coupled for Leica.
S135.00; 4^" f/2. 8 Trioplan, tvpe C mount or
coupled for Leica, $85.00; 1" //0.99 Dallmever,
Type C mount, $110.00. USED PROJECTORS:
16mm. Kodascope EE Series II. 750 watt lamp,
$62.50; 16mm. Bell & Howell 57A. reconditioned,
400 watt lamp. ca_se, S47.50; 16mm. Bell & Howell
Model 57GG, 375 watt lamp, variable resistance,
voltmeter, case, S64.50: 16mm. Bell & Howell
Auditorium projector. 1600 ft. capacity, 1200
watt lamp, 2" //1. 6 lens, case, $315.00. USED
SOUND PROJECTORS: Victor Animatophone
Model 33. 750 watt lamp. 10 watt output, 1600 ft.,
speaker and case, S217.50; Victor Animatophone
Model 40A, new condition, 750 watt lamp, 20 watt
output, speaker, $275.00. Limited Number. Dis-
continued new model Craig Jr. 16mm. animated
Editor, Splicer and Rewind. Regularly $31.50;
our price, $23.65. Just out — complete revised cine
price list covering largest assortment in the
country including sound. Free on request. BASS
CAMERA COMPANY, Dept. CC. 179 W. Madi-
son St., Chicago, 111.
■ FULL LIST PRICE ALLOWED for your
Model 20 Cine-Kodak on Eastman Model 90 Smm
camera; for your Model E 16mm. projector on
Bell & Howell Filmomaster; for your Revere //3.5
on Revere Turret; for your Model 50 Kodascope
on new Revere projector; for your A8 Keystone
on new Ampro or Bell & Howell Smm. projector.
Write for other liberal allowances. EQUIPMENT
FOR SALE — AS NEW PROJECTORS: Bell &
Howell, 32 volt. S49.50; 500 watt Bell & Howell
Model 57, $57.50 with case; Bell & Howell Show-
master, fine condition, $150.00; Bell & Howell
Model ST, 750 watt with case, $115.00; Bell &
Howell 750 watt, Model SU with variable resist-
ance and case, S149.50; Bell & Howell Academy
Filmosound, demonstrator, new guarantee
$275.00; Bell & Howell Walnut case Utility
Filmosound, $335.00. AS NEW CAMERAS: 8mm
Bolex, //1.9 lens, $195.00; 16mm. Bolex, with
Hektor //1.4 lens, $295.00; Victor Model 5 with
//1.5 lens, $149.50; Bell & Howell Automaster,
//2.7 lens, $159.50; Eastman Model A 16mm.,
hand crank, //3.5 lens, ideal for printer, $29.50;
Smm. Bolex with Hugo Meyer f/l.S, S275.00;
Bell & Howell 8mm. Turret with back-wind, //2.5
Cooke, $135.00; Bell & Howell 70DA equipped
for motor drive, 200 foot magazine and case, //l 5
lens,_ $349.50. AS NEW LENSES: Eastman 1-inch
//4.5, for Bell & Howell, Revere or Keystone
Smm., $29.50; 2-inch f/l.S Zeiss Sonnar for 8 or
16mm. cameras, $75.00; 6-inch Hugo Meyer //4.5,
fine condition, $79.50; Cooke }4-inch //1.4 for
Bell & Howell 8mm., $79.50; Smm. wide angle
lens with view finder, $22.00; l^-inch f/1.9 Dall-
meyer, $55.00; 2-inch Dallmever f/1.9. $59.50;
1-inch //l. 5 Dallmeyer. $62.50; 1-inch f/1.9 Dall-
meyer, $49.50; 1^-inch Dallmeyer f/4, $34.50;
2-inch Eastman //1.6, $69.50; 4y2-\nch f/2.7.
$69.50; extra Magazine for Cine Special, $75.00;
SI 69.00 Webster Recorder and Plavback, $79 50
WRITE FOR BARGAIN LIST. ' NATIONAL
CAMERA EXCHANGE, Established 1914, 11 So.
Fifth St., Minneapolis, Minn.
Printed by WNU, N. Y., in the U. S. A.
n
I Just Out . . .
A Brand New League Leader
— different from all preced-
ing ACL Leaders. It com-
B bines a leader and a
"THE END" title
The new ACL leader combines
an introductory animated se-
quence to open your film and a
"THE END" title to splice at
the end of your picture. The
leader and "THE END" are
separated by two blank frames
so that it is easy to find the spot
at which to cut them apart.
Both sections of the new leader
are cleverly animated with pro-
fessional trick work — a brilliant
combination of wipes, zooms,
multiple exposures and other
effects. Moving light rays and
shadow patterns add to the
beauty of this modern movie
trick work.
"THE END" title zooms for-
ward against a background of
moving rays and it will finish
your movies with a handsome
professional touch.
League leaders are given
free to every ACL member
when he renews his mem-
bership. They are given
free to every ACL member
who gets a new member for
the League.
Renew Your Membership in
Advance and Get One of
These New League Leaders
Immediately.
League leaders are also offered to
members of the Amateur Cinema
League at the following prices:
8mm 50c
16mm 60c
Amateur Cinema League, Inc. »
420 Lexington Ave., New York, N. Y. jr
■ AMPRO Model YSA, like new, $250.0(1.
FRANKLIN DAVIS, Ocilla, Georgia.
■ USED: B & H Filmo 70D, turret head, with
Hugo Meyer f/l.S 1" lens, Taylor Hobson Cooke
f/3.3 3J4" lens, Tavlor Hobson Cooke //3.5 1"
lens, Mayfair case, $175.00; B & H Filmo 70DA,
turret head, with Taylor Hobson Cooke f/3.3 3^4"
lens and f/3.5 1" lens, Mayfair case, $150.00.
BOX 238, Movie Makers.
EQUIPMENT WANTED
| 15MM. //2.5 Taylor Hobson, focusing, for
16mm. camera B & H. L. H. SAMARTINI, 13501
Euclid Ave., E. Cleveland, Ohio. GL 2630.
FILMS FOR RENTAL OR SALE
■ MONEY maker! "The World's Greatest Pas-
sion Play." 16mm. and 35mm. sound or silent.
Purchase or rent everywhere. Superior to Ober-
ammergau play. Write HEMENWAV FILM CO.,
33-B Melrose St., Boston, Mass.
■ 8MM-16MM Sound and silent films, projectors
and cameras; bought, sold and exchanged. Trades
and terms accepted. Free bargain bulletin.
ZENITH, 308 W. 44th St., New York.
■ BARGAINS: Used 16mm. sound films for out-
right sale. S4.00 per reel and up. MAJESTIC
16MM PICTURES, 1611 Davenport, Omaha,
Nebr.
| 8-16mm. FILMS bought, sold, exchanged.
Silent-sound odd reels, $1.50. Catalog, sample
film, 10c. INTERNATIONAL, 2120 Strauss,
Brooklyn, N. Y.
■ THE LAMBETH WALK in 16mm. sound, on
Adolph Hitler and His Goose-Stepping Cohorts.
90 feet of sustained laughter. Order your copy
today — only $6.00. HABER & FINK, INC., 12
Warren St., New York City. BArclay 7-1230.
■ RENT 8-16mm. films by week. New catalogs.
Rates only 35c and up. DAYTON FILM
RENTAL, 2227 Hepburn, Dayton, Ohio.
FILMS FOR EXCHANGE
■ EXCHANGE: Silent pictures, $1.00 reel.
Finest sound film programs, rent reasonable; also
sell. CINE CLASSIC LIBRARY, 1041 Jefferson
Ave., Brooklyn, N. Y.
■ SOUND, silent films exchanged, rented,
bought; S K 16mm.; always bargains. Get on our
list. FRANK LANE, 80 Boylston, Boston, Mass.
■ 8MM. FILMS! Castle Releases. 50 ft. 180 ft.
New prints. Good used prints. Sales. Exchanges.
Trade-ins. RIEDEL FILMS. Dept. MM-342, 2221
W. 67th St., Cleveland, Ohio.
TRADING OFFERS
■ REVOLVERS, PISTOLS, SHOTGUNS,
RIFLES — very liberal allowances for such fire-
arms toward purchase of photographic equip-
ment. In spite of present conditions, we can
make immediate delivery of Bolex cameras, East-
man Model 90 Smm. Cine-Kodaks, Bell X
Howell 8mm. and 16mm. projectors. Bell &
Howell Filmosounds. 1-inch //1.5 lenses, 1^-inch
f/1.9 lenses. 2-inch .f/1.9 lenses. 15mm. f/l.S
lenses, 2-inch f/1.6 lenses, Kodak Ektras, and
other items now very scarce. Write for full
particulars. NATIONAL CAMERA EX-
CHANGE. Established 1914, 11 So. 5th St..
Minneapolis. Minn.
MISCELLANEOUS
■ ED1TOLA — for double system 16mm. Sep-
arate heads for sound and picture. Shows picture
and reproduces sound. Particulars. EDlTOLA.
S94 Woodland Ave., Oradell. N. J.
Let vour movie wrinkles earn
DEFENSE STAMPS for you...
For any idea acceptable for The clinic
department in this magazine. Movie
Makers will pay S1.00 in Defense
Stamps. For any idea for The clinic
accompanied by a photographic il-
lustration or a drawing Movie Makers
will pay S3. 00 in Defense Stamps.
Send your filming stunts, your plans for
homemade equipment, to The clinic and add
to your Defense Stamps.
MOVIE MAKERS
420 Lexington A-,
New York. N. Y.
THERE'S no time for retakes
today. You want to know that your movies will be com-
pletely right. Every scene in every sequence. You want
crispness and warmth and richness — and sensitiveness to
every delicate shading. Probably you want color, too.
You'll take your movies as carefully as you can, of course.
Yet, if you err a little now and then, you want the assurance
that your film will lend a helping hand.
All this is manifestly true. And equally true is the con-
tention of seasoned cinamateurs that these vital specifica-
tions are particularly applicable to Cine-Kodak Films. To
full-color Kodachrome. To the ever-dependable Cine-Kodak
Panchromatic Film. To the faster, fine-grained Cine-Kodak
Super-X "Pan." To the ultra-fast Cine-Kodak Super-XX
"Pan." And even to the amazingly low-cost Cine-Kodak
"Safety Pan" for 100-foot 16-mm. cameras.
Whether your camera is notable for economy, or for
versatility, use ever-dependable Cine-Kodak Films for the
good and satisfying movies any good camera should make.
EASTMAN KODAK COMPANY
Cine
-Kodak Super-XX
"Pan
For
16-n
1TQ.
cameras,
only.
50-
foot
roll
$4,
magazine, $4.30;
100-foot
roll,
$7.20.
.J CINI-KODAK l
I »<V4 Speed
■H PaMctvtcuttatia
I SAFETY FILM
I Safety*^
EASTMAN ^X*,
Cine-Kodak Safety "Pan"
In 100-foot 16-mm. rolls,
$4.80.
All Prices Include
Processing
only,
ROCHESTER, N. Y.
ine of the Amateur
league, Inc.
APRIL, 1942
AN URGENT CALL TO FILMERS
UNITED STATES GOVERNMENT
*IT'S A DOG'S LIFE!
« Short subject producer tells tricks
of trade in filming dogs.
* LETTERING TITLES
e How you can plan and draw your
©W8s title letters.
• CAMERA VIEWPOINTS
• Phot© feature illustrating
hxl camera positions.
2ftr
EVERY NEW MEMBER GETS.
The ACL Movie Book
IT'S the latest book on amateur movie making! . . . It's the
biggest book about the subject written in the past decade!
311 PAGES— OVER 100 ILLUSTRATIONS-FRAME
ENLARGEMENTS— PHOTOGRAPHS— DRAWINGS I
INTERESTING — NEW IDEAS — SIMPLY WRIT-
TEN— ACCURATE— COMPLETE— FULL INDEX.
Written by the staff of the Amateur Cinema League — com-
piled from their experiences in serving thousands of movie
makers for over a decade, this book represents the latest
and simplest cine technigue. It is based on what amateurs
do. It tells you what you want to know because it comes
from the needs and guestions of over 21,000 League mem
bers — every one a real movie maker.
The new book is packed with information and it
is simply written in an informal style. You will
find it fascinating, and you may be sure that the
information is correct — IT'S AN ACL PUBLICA-
TION.
GET THIS NEW BOOK IN ADDITION TO THE
SERVICES AND PUBLICATIONS LISTED BELOW
ALL FOR $5.00 A YEAR
if MOVIE MAKERS . . . Membership includes a sub-
scription to Movie Makers monthly, which covers
every phase of amateur and practical filming.
Each month there are articles for the beginner as
well as for the experienced movie maker.
if Technical consulting service. . . Any League mem-
ber can put his movie making problems up to the
technical consultant, and he will receive prompt,
detailed service.
if Continuity and film planning service . . . The con-
tinuity consultant will aid you in planning specific
films by offering you continuity and treatment
suggestions, ideas on editing and title wordings.
if Club service . . . Those who wish to organize a
club — either for the production of films or for the
interchange of ideas between cameramen — will
obtain full aid.
ir Film review service . . . You may send films to the
League for criticism and review.
if Booklets and service sheets . . . These are available
to all members. Booklets are sent automatically,
as published, to members who request them. Book-
lets now current are:
Color filming — 27 pages, illustrated
Featuring the family — 34 pages
Lighting personal movies — 37 pages, illus-
trated
Films and filters — 31 pages, illustrated
Building a Dual Turntable — 30 pages, illus-
trated
if Equipment service . . . The League aids members
in locating new equipment.
if Film Exchange ... A member may list his films
for temporary loan among other members and will
receive in return a list of films offered by other
members.
if Special services ... in two important fields are
available. Through the Film Review Chart a mem-
ber can get particularly efficient criticism on his
reels. By means of the Film Treatment Chart, a
member may secure individually prepared film
plans and continuity outlines. These charts are
supplied on request to members only.
AMATEUR CINEMA LEAGUE, Inc.
420 Lexington Ave. Date
New York. N. Y., U. S. A.
I wish to become a member of AMATEUR CINEMA LEAGUE, Inc. My remittance for S5.00.
made payable to AMATEUR CINEMA LEAGUE. Inc.. is enclosed in payment of dues. Of this amount,
I direct that $2 be applied to a year's subscription to MOVIE MAKERS. (To nonmembers, subscrip-
tion to MOVIE MAKERS is S3 in the United States and possessions: $3.50 in Canada, $3.50 in other
countries.)
MEMBERSHIP $5 a year
Name
Street
City State
Apr. *42
GET THESE INDISPENSABLE
FILMING AIDS AT ONCE FOR
Five dollars a year
Amateur Cinema League, inc.
420 Lexington Ave.
New York, New York, U. S. A.
kxt-
Gaining altitude
TO get movies that hit new highs in
snap and sparkle; that breathe life
into people, backgrounds, clouds, sky,
start using Hypan Reversible now. This
Agfa Ansco product comes in 8 or 16mm.
— and it's ideal for outdoor work. Hypan
Reversible is fast, fine-grained and fully
panchromatic. Its brilliant gradation as-
sures you of a pleasing projection quality.
16mm. Hypan is supplied in 100 ft.
rolls at$6.40;in50 ft. rolls at $3.45. Twin-
Eight Hypan is only $2.40 for double-
width 25 ft. rolls. Prices include process-
ing and return postage. Agfa Ansco,
Binghamton, New York. lOO
Years of American Photography.
Agfa Ansco
HYPAN
REVERSIBLE FILM
MADE IN U.S.A.
136
MORE
Ittkettljau'Mie.a
DWEI
CHALLENGER
SCREEN
(Reg. U. S. Pat. Off.)
• Its specially-processed Da-Lite
Glass-Beaded Surface makes pic-
tures brighter and sharper and
brings out colors faithfully in full
brilliance.
• Slotted square tubing in the tri-
pod and solid square tubing in the
extension support assure perfect
alignment and greater rigidity. Da-
Lite's patented slotted construc-
tion with inner-locking mechanism
makes the Challenger the easiest
of all portables to set up and to
adjust in height.
• Because of the economies of
large-scale production, the Chal-
lenger gives you unmatched value.
The 30" x 40" size is only $12.50
(slightly higher on Pacific Coast).
There is no Federal excise tax on
J screens.
r Ask your dealer for the time-
proved Da-Lite Challenger. Write
for literature.
DA-LITE SCREEN COMPANY, INC.
Dept. 4MM
2721 No. Crawford Ave.
Chicago, III.
33 IjeaM,
Closeups — What fil
mers are
APRIL 1942
lomg
Russell C. Holslag, ACL, who has been
advertising manager of Movie Makers
since 1932, has resigned to join the
staff of J. A. Maurer, Inc., manufactur-
ers of 16mm. sound on film recording
equipment. In his new work, Mr. Hol-
slag will train new users in the tech-
nique of operating Maurer sound on
film units. Donald Maggini, formerly of
Cincinnati, who has had previous ex-
perience in the publishing and selling
field, has been added to the staff of
Movie Makers, to handle advertising.
Another staff change has occurred in
the continuity department. Gordon L.
Hough has resigned as assistant to the
continuity consultant, to join the movie
production department of March of
Time. The new assistant to the con-
tinuity consultant is James N. Young,
jr., formerly of the staff of Time, Inc.
Dr. Edgar Dale, FACL, director of the
Bureau of Educational Research, Ohio
State University, has been announced
as educational adviser to Lowell Mel-
lett, coordinator of government films, in
Washington, D. C. Dr. Dale will work
in collaboration with Arch A. Mercey,
deputy coordinator, who was formerly
head of the U. S. Film Service and
more recently in charge of motion pic-
tures for the Office for Emergency
Management.
Instruction for the Air Raid Warden
has been announced by the Research
Council of the Academy of Motion Pic-
ture Arts and Sciences as the first film
to go before Hollywood cameras in the
Research Council's series of pictures
for Civilian Defense. Lieut. Colonel
Charles S. Stodter will serve as War
Department liaison officer, with Lieut.
Colonel Walter P. Burn, chief of the
Training Division of the Office of Civil-
ian Defense, as technical adviser.
Twenty six air raid wardens gathered
recently in the Cliff Sanders Theatre,
basement showshop designed by Clif-
ford S. Sanders, ACL, of Philadelphia,
for a screening of Fighting the Fire
Bomb, first defense training film to be
released by the Office of Civilian De-
fense. So successful was this post gath-
ering that the wardens decided at once
to enlarge the scope of their screenings,
to include the public in their entire
sector. This new program is being car-
ried out successfully with the coopera-
tion of the management of The Sunken
Gardens, a local restaurant which has
offered the free use of one of its ban-
quet rooms.
J. F. Hubbard, ACL, of Muncie, Ind.,
who has found outright defense instruc-
tional films somewhat scarce, has hit
upon another effective way of using his
projector. He has spliced together a
number of the latest topical pictures re-
leased by 16mm. commercial distrib-
utors— such as Japs Bomb U.S.A. and
the Castle News Parade — and screens
them free of charge before any club
group in his community that he can get
to see them. He states that this pro-
gram is doing well in the matter of
morale.
George W. Cable, ACL, who has car-
ried his camera around the world in
search of cine subjects, reports that he
has now found a bright new mine of
subject matter practically in his back
yard at Palo Alto, in California. His
lead title, A Scandinavian Dear Hunt,
may or may not give you some idea;
but, not to keep you in suspense, his
real subject matter is Far North folk
dancing. In search of this colorful and
dramatic activity, Mr. Cable has trav-
eled widely around his State and re-
ports successful "hunting" on the Sutro
estate, in Atherton, in Sigmund Stern
Grove, in San Francisco, and other less-
er gathering places. He recommends,
for dance filming, the use of a four inch
telephoto on a tripod placed above the
crowd, and he suggests for your musi-
cal accompaniment of the finished film
such records as Vackra Nets (Victor),
Folklatar (Columbia) and Vingakers-
dansen (Odeon).
When Lewis B. Sebring, jr., ACL,
called us on the telephone, a while ago,
to say that he was leaving on a secret
mission, we kept silent and speculated
upon his destination. All is now clear.
This veteran news man, fine filmer and
Movie Makers author is sending from
Australia, to the New York Herald
Tribune, brilliantly written reports of
"down under" and what is happening
there, the first of which appeared
March 18, on page one of his paper.
The American forces in Australia have,
in Mr. Sebring, a correspondent second
to none in understanding of military
life, because he spent the last two years
in Army camps in this country. All his
ACL brethren send to the League's first
soldier of information to serve abroad
their heartfelt "God bless you!"
THE SUN IS BRIGHT
In the bright, clear days of summer,
take special care to avoid fogging the
film when you load the camera. Always
load the camera in the shade — the
deeper the shade, the better. Do not
turn the film spool so that the film
surface itself faces the light. If you
have time, it is best to load the camera
indoors. You might better be safe than
sorry.
137
MOVIE MAKERS
The Magazine of the Amateur Cinema League, Inc.
t~* t~% 1VI T f^ TVI
Volume 17
April, 1942
Number 4
Cover photograph Ewing Galloway
Closeups , . 136
Famous shrine filmed 138
Free film reviews 140
Conserving striped bass 142
The first call, editorial . 143
It's a dog's life! Russell T. Ervin, jr. 145
Next trip— Quebec Walter P. Downs, ACL 146
Home town films Kenneth F. Space, ACL 147
Camera viewpoints 148
Where have you filmed? 150
Lettering for your titles Victor Ancona, ACL 153
Art title background, photograph Meisel from Monkmeyer 154
Easter at home Gabriel V. Pascarella, ACL 155
A cine camera on the "night off" Gordon L. Hough 158
Amateur clubs James W. Moore, ACL 159
The clinic Kenneth F. Space, ACL 160
A plan for surgical filming Marshall Smith, M.D. 162
Practical films Gordon L. Hough 163
News of the industry Russell C. Holslag, ACL 164
Films you'll want to show '. 166
16mm. movies as court evidence William W. Wilson, ACL 169
Statement from Director of Censorship 174
Meisel from Monkmeyer
ARTHUR L. GALE
Editoi
rvioviE
JAMES W. MOORE
Continuity Editor
KENNETH F. SPACE
Technical Editor
ALEXANDER de CANEDO
Art Editor
DONALD MAGGINI
Advertising Department
RS
is published monthly in New York, N. Y.. by the Amateur Cinema League, Inc.
Subscription rate $3.00 a year postpaid (Canada and Foreign $3.50); to members of the
Amateur Cinema League, Inc., $2.00 a year, postpaid; single copies 25c (in U. S. A.)- On
sale at photographic dealers everywhere. Entered as second class matter, August 3, 1927,
at the Post Office at New York, N. Y., under act of March 3. 1879. Copyright, 1942, by the
Amateur Cinema League, Inc. Title registered at United States Patent Office. Successor to
Amateur Movie Makers, title registered at United States Patent Office. Editorial and
Publication Office: 420 Lexington Avenue, New York, N. Y., U. S. A. Telephone MOhawk
4-0270. Advertising rates on application. Forms close on 10th of preceding month.
CHANGES OF ADDRESS: A request for a change of address must reach us at least by
the twelfth of the month preceding the publication of the number of Movie Makers with
which it is to take effect. Duplicate copies cannot be sent when a number of the magazine
does not reach you because of failure to send in this advance notice. The Post Office will
not forward copies unless extra postage is provided by you.
138
APRIL 1942
The New
DA-SCOPE
KODACHROME
VIEWER
Closed
A compact folding slide viewer
handsomely made of durable red
and white plastic, that practically
makes Kodachrome stills
"breathe." The magnification of
the viewing lens is such that the
smallest detail is brought into
sharp and clear focus. The lens
springs into position when the Da-
Scope is opened. The translucency
of the white plastic top permits
both sufficient illumination and
diffusion for viewing the slide.
The small size (2% x 2% x % ")
and light weight of the Da-Scope
make it truly a "vest-pocket" in-
strument.
$1.95
MAIL ORDERS FILLED
32nd St. near 6th Ave., New York
Established 1898
FAMOUS SHRINE FILMED
SWARNAMALI, a 1600 foot Koda-
chrome sound production, which re-
cords the crowning of the shrine of
Swarnamali at Anuradhapura, was
filmed in 1940 and '41 in Colombo,
Ceylon, by A. E. Ephraums, ACL.
W. D. F. Perera cooperated in this first
full length film made in Ceylon, and it
would have been difficult to choose a
more majestic and triumphant cere-
mony for the island's motion picture
debut.
Buddhism in Ceylon
The movie is a combination of Cey-
lonese history and the Buddhist religion
that is inextricably linked with it. The
introduction takes us back 2500 years
to trace the story of the great Maha
Thupa, or shrine. Lamini Abbaya, the
Hero King of Lanka, began the con-
struction of the shrine of Swarnamali,
or "Mound of Golden Sand," as his be-
quest to posterity, but he did not live
to see its completion. The monument
was finished by his brother and suc-
cessor, King Saddha Tissa, more than
2000 years ago, and it was filled with
relics brought from distant places in
India. This shrine has always been
dearer to the people of Ceylon than the
pagodas, palaces and huge parks that
were left by other ancient rulers.
Centuries passed, and Swarnamali
fell in ruins, as the tide of nationalism
and religion ebbed. Restored once, it
suffered further damage and was final-
ly rebuilt in 1940 by Ceylonese who
possessed some of the fervor of their
ancestors. The climax of the restoration
came when the seinbu, or giant crystal,
was placed atop the shrine. This stone,
sent by the Buddhists of Burma, is a
splendid sight, standing two feet high
on its base of solid gold, studded with
sapphires, rubies and other precious
jewels. The crowning of the edifice,
amid the traditional pageantry of the
East, is likewise the climax of Sivarna-
mali.
Historical record
The ACL has not had the privilege
of seeing this film, but Mr. Ephraums
submitted a wealth of material, includ-
ing reproductions of "stills" and clip-
pings from local newspapers, some, for-
tunately, printed in English. Unani-
mously, the reviewers applauded the ex-
cellent color work, the narrative in both
English and Sinhalese, and they praised
the movie as one "not to be missed."
All were impressed with the perma-
nent value that the film will have as a
"documentary" record of a historic oc-
casion, and they commended the pro-
ducers' dignified and restrained treat-
ment of the subject.
Frames from "Swarnamali," record
of restoration of Buddhist shrine
** SHABP8?* MOVIES <2k«.
mm. out ^IFm©<SCS[lTr CONT
— Ute ScAeMtijjicGlLf. JheMcfWed
SPROCKET CONTROL is a vital part of the finest 16 and
35 mm cameras, generally used by professional cameramen,
including newsreel photographers who must get sharp pictures
of action as it happens. In the Revere 8 mm Camera an exclu-
sive reciprocating sprocket completely absorbs any variance
of film tension caused by the change in speed of the film as it
winds on to the take-up spool. (No tugging on the film gate!)
The Revere's sprocket also keeps the loop
below the film gate constantly at the proper
size to insure free movement at all times.
For sharp, steady 8 mm movies, ask
your dealer for the Revere Camera, with
sprocket film control! Write for litera-
ture! Revere Camera Company, Dept. 4 MM,
320 E. 21st St., Chicago, Illinois.
REVERE MODEL 88
Complete with F3.5 lens $38.50
As shown by the above illustration,
you drop the reel of new film on
to the take-up spindle, place the
film in the gate so that it follows
the white line for the loop and run
it around the sprocket and on to
the take-up reel. Then close the
gate and door and you're ready
to shoot.
REVERE '88' CAMERA
takes movies of which you will be truly proud.
Here are a few of its many advanced features:
Eastman-licensed spool and spindles, precision-
built mechanism, 5 speeds with positive speed
governor control, built-in parallax-corrected
view-finder, and reciprocating sprocket film
control. Complete with Wollensak F 3.5 lens,
S38.50.
Revere
REVERE 801 PROJECTOR
For sharp, brilliant movies, ease of
threading and simplicity of operation,
the Revere 8 mm Projector is today's
outstanding value. It excels in features
essential to perfect projection, smooth
performance and complete film protec-
tion; powerful AC-DC motor, double
blower cooling system for lamp and
film, high-ratio duplex shuttle film
movement, enclosed precision mech-
anism (no belts), fast rewind, radio in-
terference eliminator. Complete with
500 watt lamp, F 1.6 lens and one 300-
ft. reel, S75.00.
REVERE '85' PROJECTOR
has the same features as the "80" plus
duo-shield light diffuser, micro-tilt,
beam threading light and carrying
case. Complete with 500-watt lamp,
F 1.6 lens and one 300-foot reel,
S89.50.
(fujv/m/tf
REVERE ,99" CAMERA
To the mechanical features of the
"88" have been added in this model
a turret head for three lenses and an
extra optical view finder for use with
telephoto lenses. By rotating the head
you can change instantly from regular
Vz" lens to I" or l'/2" telephoto lenses.
Complete with one Wollensak F 2.5
lens, $77.50.
¥¥¥¥¥¥¥YYYYYYY¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥¥
and flfo4^iAeljf !
Buy United States Defense
Savings Bonds and Stamps
Now!
••••••••••••••••••••••••J
*■••••
140
APRIL 1942
FREE FILM REVIEWS
You can borrow these new publicity movies without charge
THESE films, the latest publicity pic-
tures produced, are offered on loan,
without charge. Some may be available
to individuals, and others are available
only to clubs or groups. In certain cases,
the type of organization to which the
films are lent without charge is speci-
fied. To borrow these films for a screen-
ing, write directly to the distributor,
whose address is given. (Note carefully
the restrictions mentioned in each case. )
LATEST RELEASES
Great Cargoes, 1 reel, 1100 feet, 16mm.
sound on film, color; produced by
Moore-McCormack Lines.
Offered to: groups only.
Available from: Miss Vera Fee,
Moore-McCormack Lines, 5 Broadway,
New York, N. Y.
Great Cargoes concerns the part
played by our merchant marine in hem-
isphere trade during peace and war-
time alike. For example, tractors are
made in an Illinois factory, then shipped
to Brazil and there put into operation;
in return, coffee from a Brazilian fazen-
da is carried to a North American port.
Scenes of the Panama Canal are inter-
esting, and there are sequences of cof-
fee growing, ship building and other in-
dustries.
Educator's comment: Although the
script is very disjointed, this film might
be used in classes of junior high school
level, studying transportation. — E.D.C.
Alabama — Yesterday and Today, 2
reels, 950 feet, 16mm. sound on film,
color; produced by Alabama State
Chamber of Commerce.
Offered to: established groups and
clubs only.
Available from: Alabama State
Chamber of Commerce, Montgomery,
Ala.
In this colorful film are paraded
views of a State in which the old and
the new are perfectly blended. There
is no effort to depict all phases of Ala-
bama life; rather, the places and sights
of interest to the tourist are emphasized.
Mobile's famous Azalea Trail, inspir-
ing views of mountains in northern Ala-
bama and the Gulf Coast's playgrounds
are some of the high lights of this
movie.
Let's Go Fishinq Again, 1 reel, 800
feet. 16mm. sound on film (also 2 reels,
35mm. sound on film), black and
white; produced by Fisher Body Divi-
sion of General Motors.
Offered to: groups only.
Available from: Fisher Body Divi-
sion, General Motors Corporation, Gen-
eral Motors Building, Detroit, Mich.
Let's Go Fishing Again, a sequel to
the Let's Go Fishing of three years ago,
features the champion, Tony Accetta,
demonstrating the right and wrong
methods of fly casting. As Elmer Q.
Dub, Accetta shows what not to do un-
der various conditions, while, as him-
self, he discusses types of flies, accu-
racy in casting and the knack of play-
ing and netting fish. From fishing for
bass along quiet lake shores to battling
brook trout in swift mountain streams,
Accetta demonstrates the proper use of
a fly rod. A sequence about conserva-
tion of fish forms an important part of
the film. Ted Husing is the narrator of
this movie.
Luray Caverns and Shenandoah Na-
tional Park, 1 reel, 1025 feet, 16mm.
sound on film, color; produced by Rob-
ert C. Harnsberger, ACL.
Offered to: groups only.
Available from: The Beautiful Cav-
erns of Luray, Luray, Va.
The first part of this film shows the
scenic Skyline Drive winding over the
Blue Ridge Mountains, through Shen-
andoah National Park. Wildflowers. wa-
terfalls and lookout points pass before
us. Leaving the Drive at Luray. Va., we
stop at the famous caverns. We see the
unusual formations of stalactites and
stalagmites, built up through the cen-
turies by drops of water. A party of
tourists is taken through the caverns by
a guide who explains the points of in-
terest. There is also a silent version, of
approximately the same length, which
deals entirely, with cavern scenes.
Educator's comment: The first film
is excellent for elementary and junior
high school groups studying the Shen-
andoah district of Virginia and West
Virginia and the national parks. The
second is exceptionally good for classes
studying geology or the geography of
Virginia. — E.D.C.
Make Striped Bass a Game Fish, 2
reels, 800 feet, 16mm. silent film, black
and white; produced by S. C. Dunton.
ACL.
Offered to: groups, especially Rod
& Gun clubs.
Available from: Harry Stille. Sec-
retary, N. J. League of Surf Anglers.
39 Wall Street, Long Branch, N. J.
This film is an extensive review of
the art of striped bass fishing along the
Jersey coast. Of particular interest are
the scenes of night fishing on the slip-
pery jetties and the underwater studies
of the bass, showing the type of ocean
bottom which they frequent. The depre-
dations of commercial fishing for
striped bass are shown, and this fact
has caused the N. J. League of Surf
Anglers to seek to make striped bass a
game fish by law. In addition to these
unusual shots, there are many beach
scenes of conventional surf casting.
RECENT RELEASES
Highways of New England, 1 reel,
400 feet, 16mm. sound on film, color;
produced by the State Highway De-
partments of New Hampshire and Ver-
mont.
Offered to: groups and individuals.
Available from: United States
Travel Bureau, 45 Broadway, New
York, N. Y.
Highways of New England describes
a motor trip through Vermont and New
Hampshire, and it presents such inter-
esting spots as Lake Winnepesaukee,
Montpelier, Concord and Dartmouth
College. The trip also includes a coun-
try fair, a tour of some maple sugar
farms and marble quarries and the as-
cent of lofty Mt. Washington in the
White Mountains.
Educator's comment: This movie
can be recommended for elementary
and junior high school classes that are
studying New Hampshire and Ver-
mont.— E.D.C.
Along the Great Silk Route, 30 min-
utes, 16mm. and 35mm. sound on film,
color; produced by the Jam Handy
Organization.
Offered to: groups only.
Available from: Department of
Public Relations, General Motors Cor-
poration, 1775 Broadway, New York,
N. Y.
Over the oldest road known to man,
a modern expedition wends its way,
stopping at interesting points across
Europe and Asia Minor on the road to
India. Camel caravans of overland
trade, carrying silks and spices,
plodded along this road, used also by
conquering hordes of Alexander the
Great, Genghis Khan and Tamerlane.
Filmed just before the outbreak of war,
military conditions and organizations
are described along the road.
Educator's comment: This lovely
color picture presents the general con-
ditions of many lands in Europe and
Asia Minor and so is of great value to
modern history classes. Because in
many of these countries people have
lived in the same manner for centuries,
the film is also highly useful for world
or ancient history classes and in geog-
raphy studies. — E.D.C.
MOVIE MAKERS
141
CASTIE FILMS SCOOP!
FIRST 8mm.-IGmm. MOVIES ,
OF/1MERtCMSmHM$/
MSMUMSAfr
PfWbMBOR
ACTUM
atmsseaws
ff£Af£0
*^J*
Amazing, authentic record of our surprise blitz on the
Marshall Islands! Filmed under fire! Grim, gripping
action! Our ships, our planes, our straight-shooting big
guns wage lightning war! Jap planes shot down! Jap
ships sinking! Jap shore bases made useless! Here is the
on-the-spot record for now and posterity! For every pro-
jector owner to possess! Costs less than unexposed
film! Act to own this historic picture today!
All Castle 16 MM films are processed by VAP-0-RATE. All Castle 8 MM are also treated.
CASTLE
FILMS
* ■ ■ -
V'USMW
r BIAS7S -
M/IRPWIU
/SVI/V0S/:
y^v\
DON'T WAIT! DON'T DELAY!
SEND THIS HANDY
ORDER FORM TO YOUR
PHOTO DEALER NOW!
RCA BLDG.
NEW YORK
FIELD BLDG.
CHICAGO
RUSS BLDG.
SAN FRANCISCO
Send Castle Films' "U.S. Blasts Marshall
Islands," in the size and length checked.
Name
Address.
City
Sfcrfe.
8 mm.
Headline $n yr
50 Feet l./O
Complete $jp C^
180 Feet D>D\J
16 mm.
Headline $f\ -v jp
100 Feet A./ D
Complete %Q "7C
360 Feet O ./ D
Sound $|7 Cf\
350 Feet \* .JV/
142
APRIL 1942
Hz / Iran count0"
with my G-E
EXPOSURE METER"
says RUDY MATE, ASC
CONSERVING STRIPED BASS
Be or Not
EXPOSURE has to be right for
movies. That's why so many
Hollywood experts, like Rudolph Mate
of Universal, use the G-E exposure
meter. Get a G-E and let its consistent
accuracy help your camera get better
pictures — movies or color.
You'll save on film and avoid
"missed" shots. You'll get positive
protection of shadow detail with the
G-E's sharply directional hood; extreme
sensitivity; and 3 meters in one — for
exposure, for light-balancing, and for
printing and enlarging. It has many
other features you'll like. Ask your
dealer. General Electric, Schenectady,
New York.
3 METERS
IN ONE!
IN Make Striped Bass a Game Fish,
released on January 1 by the New
Jersey League of Surf Anglers, S. C.
Dunton, ACL, of Pan Photos, New
York City, lists the various types of big
game fishing, with emphasis on the
methods of taking striped bass along
the Jersey coast. The climax of this
800 foot black and white 16mm. film
shows the efforts of the Surf Anglers
to have striped bass protected by law
and thus to prevent harmful effects on
the sport caused by commercial fishing.
Of particular interest are the under-
water studies of striped bass and the
night scenes, filmed on the slippery
rock jetties which extend hundreds of
feet out into the ocean on the coast near
Long Branch. N. J. Here the "jetty
jockies," as they are called, often fish
all night, with heavy waves and surf
breaking over them. The two subsur-
face sequences depict the fish swim-
ming about the jetties and also show
their natural feeding grounds in the
Malaka and Maurice rivers. Another
feature is the exciting "white water"
fishing at Beach Haven, N. J. Directed
by William C. Mackay, jr., the film was
shot by Mr. Dunton, with the assist-
ance of Frank Weitzman.
The film has already met with con-
siderable local success, as shown by the
following review by Stewart Vanvliet
in the Red Bank (N. J.) Register. '"It
is, without doubt, one of the finest pic-
tures of its kind that I have seen. It
shows striped bass fishing in all its
phases and impresses on you what a
swell sport it is and how it can be in-
dulged in by the average man at a
relatively small cost. It should make
many friends for the N. J. League of
Surf Anglers."
Mr. Dunton, for fifteen years photog-
rapher for the New York Zoological So-
ciety, has made such educational mov-
ies as Trailing the Seahorse, The Tar-
pon and others. One of his most inter-
esting assignments was filming the un-
explored cave of La Cueva Chica in
San Luis Potosi, Mexico, and the sub-
sequent hunt for the blind fish living
in the underground river of the cavern.
Mr. Dunton writes that the cinematic
problems posed by the cave were fully
as challenging as were the zoological
problems of bats, snakes and scorpions.
Make Striped Bass a Game Fish is
being released generally to rod and gun
clubs and to other interested groups,
and it was screened at the annual
sportsman's show in New York City.
For the details of its distribution, see
the Free Film Reviews in this number.
Frames from "Make Striped Bass a
Game Fish," a conservation film
143
THE FIRST CALL
THE first call from our government to personal
' filmers and still photographers is printed elsewhere
in this number of Movie Makers. The Amateur
Cinema League has been directly authorized to effect
the assembly of information from cinematographers
and photographers about the films and still pictures
that they have made outside the United States.
If any of us have wondered what the place of film-
ing and photography might be in these days when
business as usual, pleasure as usual and life as usual
face sharp curtailment, we can take heart. Our gov-
ernment recognizes our hobby as a national weapon,
and it calls upon us to use that weapon intelligently
and actively, under its direction, to win the war.
The first call is a mobilization of our films and
photographs. The footage and the photographs which
may have been offered for the entertainment of our
friends so often that we have nearly concluded that
they should be shelved now become first line soldiers
of information. These soldiers will serve, without
regard to their cinematographic or photographic qual-
ity. What they record, rather than how well it was
recorded, is the essential point of interest.
There will be more calls upon movie makers. The
Amateur Cinema League is now working out the de-
tails of other tasks that the United States will set for
personal filmers and projectionists. Our kind of
movies have an important place in the war. The fact
that the Amateur Cinema League has, for sixteen
years, served the filmers of the world practically,
effectively and ethically has won for it, in the present
national crisis, the confidence of the officials who
direct our war effort. We are non commercial and
public spirited, and, therefore, we are well suited to
undertake the mobilization of volunteer effort in the
field of filming.
Of course, you are busy. Everybody is busy today,
particularly the men and women who film, because
they are the leaders in their communities. But, just
as you have mobilized your business and your personal
life for war work, you are now asked to mobilize
your hobby. The footage you have of places out-
side the United States enables you to make a very
direct contribution to the nation. You are asked to
make this task as definite a part of your war effort
as that which you are making in your business or in
your community war service.
This war is not somewhere else, nor sometime else,
nor does it affect somebody else. It is here and now
and we. A nation passionately at work can win the
war. Your hobby is a weapon. Your footage and your
pictures are called to volunteer. The Amateur Cinema
League knows that you will respond to this first call.
It knows that you will respond to other calls. Let's go!
The AMATEUR CINEMA LEAGUE, Inc.
whose voice is Movie Makers, is the international or-
ganization of movie amateurs, founded in 1926 and
now serving filmers in many countries. The League's
consulting services advise amateurs on plan and execu-
tion of their films, both as to cinematographic tech-
nique and continuity. It serves amateur motion picture
clubs in organization, conduct and program and pro-
vides for them a film exchange. It issues booklets. It
maintains various special services for members. The
League completely owns and operates Movie Makers.
The directors listed below are a sufficient warrant of
the high type of our association. Your membership
is invited. Five dollars a year.
Hiram Percy Maxim, Founder
DIRECTORS OF THE LEAGUE
$$&M
STEPHEN F. VOORHEES, President
JOHN V. HANSEN, Vice President
ETHELBERT WARFIELD, Treasurer
C. R. DOOLEY
MRS. L. S. GALVIN
H. EARL HOOVER .
HAROLD E. B. SPEIGHT
FLOYD L. VANDERPOEL
T. A. WILLARD
ROY W. WINTON, Managing Director
Address all Inquiries to
AMATEUR CINEMA LEAGUE, INC.
420 LEXINGTON AVE.. NEW YORK CITY, U.S.A.
Amateur Cinema League offices are open from
9:00 A.M. to 5:00 P.M., Mondays through Fridays
. New York City
Washington, D. C.
New York City
New York City
Lima, Ohio
Chicago, 111.
Ithaca, N. Y.
Litohfield, Conn.
Beverly Hills, Calif.
. New York City
Photographs by Russell T. Ervin, jr.
• Sledge dogs or bird dogs — the whole canine family is a
top notch movie subject, as Grantland Rice Sportlights
has discovered.
145
9ti
a
But it's worth filming
asserts movie veteran
yAKE! cries the driver, and seven lean wolves break
against leather with savage frenzy and a chorus of
murderous yells. However demonic the demonstration, it
is still sweet music to the dog muster's ears, for he is
going places and going fast — while you remain behind,
frozen into complete inactivity, with a seventy five pound
camera anchoring you to an ankle deep but picturesque
setting.
Well, in case you have not guessed it, I am a sports
reel cameraman, with a doggone big problem to solve.
How to film a New Hampshire sledge dog race? The dogs,
usually Siberian Huskies, with seven to a team, are driven
over mountainous old logging trails — no cars, wagons or
other vehicles are allowed on the twenty mile course.
Well, a smart man knows when he is licked, so you
pack up and shut up, for the racing committee has prob-
lems of its own.
Next week, they are racing sixty miles away, over near
Chichorra Mountain and Chichorra Lake. So you drive
over the day before the race, locate a real native guide
and run over the entire prospective course and map out
each intersection and figure out how you can leave the
• Russell T. Ervin, jr., on location in New England, during
past winter, making shots of sledge dog races.
RUSSELL T. ERVIN, jr., Associate Producer, Grantland Rice Sporflighfs
trail and return at another spot further on. Sometimes you
use the back lanes of farms — or, better yet, a ski trail.
The race will last for two hours or better, but your esti-
mation of time for shooting and movement has got to be
pretty accurate.
So the big race gets off again, and this time you are
clicking them off as easily as if the big glass eyed box
was a hurdy gurdy. \ou are warm and hustling; you
don't begin to feel the mountain ozone as it erases the
thin red column right off the thermometer. No, you don't
mind being wrapped to the ears in fleece lined gabardine,
but your camera does mind the temperature.
The old box develops wheezes, and the takeup pulley
chugs down almost to a stop. Well, you should have taken
care of that problem the night before, but a few quick
shots of kerosene soon bring the speed back to ninety feet
a minute (35mm. sound film speed) , and you hope the
roll isn't taking a coal oil shower.
Yes, you grew smart after that last refrigerator job,
when the velvet covered magazine apertures worked up a
pile of static electricity, which painted forked lightning
nicely throughout the whole footage. You even had the
corduroy inside lining of the magazine removed, and you
wondered why the manufacturer put the stuff in there any-
way— that is, you wondered until you were shooting mar-
lin pictures off Cat Cay in July, and the film emulsion
turned to jam as the 120 degree sun burned itself right
through the unpadded magazine.
Suppose that we leave this cold canine camera lesson
and try our hand with some fair weather dogs. You can't
tell anybody much about sledge dog filming anyway. Few
try it, and even those few are not going to make a hobby
of it for long.
Let us talk about bird dogs — those big, lovable pointers
and setters whose marbleized points and dead reckoning
retrieves make even your worst critic say, "Ah!" If the
dogs are half as good as they look, and if there is even
one covey of bobwhites around, it will be a "cinch," you
think. You divide the equipment like Gaul, into three parts
— camera, tripod and battery — and make the hunters do
a little toting. You walk six miles, the hunters bag a few
nice ones and you end up the day with the worst batch
of unleveled. cold rolled snapshots that you have ever
exposed to light. The hunters are irritated because the
heavy equipment tired them out and killed their fun.
That night you arrange with [Continued on page 165]
next tsUtL---!2ueJtec
FO the hundreds of movie makers who are wondering
■ "where next?" in their perennial search for fresh
motion picture material, the Province of Quebec, land
of the habitant, is made to order. Rich in scenic variety
and in human interest, this ancient Province casts its
spell on native son and visitor alike. Your reporter, who
belongs to the former group, has fond memories of the
idyllic weeks that he spent filming The Saga of the St.
Lawrence, later distinguished by this magazine with an
Honorable Mention award. His camera brought back a
record of spinning wheels and outdoor bake ovens, of
tall church spires and crosses by the roadside, of ox
drawn carts and brown, weathered old windmills. And
he himself came home with a deepened admiration for
the simple, devout, hospitable folk who till the same fields
Filmer's paradise offers
rich cine fare to guests
WALTER P. DOWNS, ACL
their forefathers worked three centuries ago.
A word on how to get there. Since New York City is
headquarters of the Amateur Cinema League, let us start
from there. Just overnight by train, or a day's drive over
splendid highways, lies Montreal, Canada's metropolis
and the largest inland seaport in the world. If you prefer
flying, less than three hours along the Hudson and over
the Adirondacks brings you down on St. Hubert Airport,
across the river from Montreal. Don't, in these war days,
attempt any shooting from the airplane except with ex-
plicit permission from the pilot.
The city itself is definitely Gallic, in language and in
spirit; so, to keep your audience guessing for a minute
before you "plant" your starting location, you might
open with a series of short scenes of bilingual traffic signs.
A closeup of an automobile wheel might then dissolve
to a shot of a carriage wheel, which then could dissolve
to a French and English sign — Cars Not Allowed on This
Mountain Park.
This introduction will make an interesting lead to a
sequence of views from atop
ai Associates Mount Royal, which is a
"must." Here, one looks
down upon the city as it
stretches from the moun-
[Continued on page 167]
• Scenes that you
can film in the
Province of Quebec.
Co"*
tesV
c°utt
146
• Shoot the tree shaded
streets of homes as well
as the industries and
business sections of
your town.
R. B. Hoit from Nesmith and Associates
HOME TOWN FILMS
Movie making projects that fit into today's conditions
FOR a few moments, let us ignore Horace Greeley's
famous advice, "Go West, young man, go West," and
paraphrase rather an equally well known expression, to
make it read, "Filming begins at home." This is particu-
larly good advice today, when cruise ships are good
dreams of the past and new automobile tires are bad
dreams of the present.
One of the greatest inducements held forth by the civic
type of film is the fact that the producer may nibble at
it, bite into it or devour it completely. In other words, a
simple hundred foot roll could suffice to give a pleasant
survey of the filmer's home town or city, yet a 2000 foot
production might not exhaust its possibilities. This lee-
way, both in film to be exposed and the time required to
complete it, makes the civic movie one of the most chal-
lenging and interesting jobs that you can tackle.
There can be no question as to the public and private
value of such a film, as is indicated by the whole hearted
cooperation being rendered by Chambers of Commerce
to those interested in such filming. Aside from the purely
personal pleasure with which the maker will view his
work, there is an almost unlimited range of advertising
uses to which it may be adapted, if the picture is pro-
duced with possible commercial sales in view.
Real estate and industrial organizations will find it
advantageous to use such a film in attracting persons from
near by localities, to change their places of residence.
The local Chamber of Commerce should be especially
interested in a film which it could use, not only to in-
KENNETH F. SPACE, ACL
terest new industries and to persuade established con-
cerns to open branch offices or factories, but also as the
finest kind of publicity to accompany members on their
tours. One reel of film will give a much more complete
picture of the local town than will all the speeches laid
end to end.
Such a film may be produced either by an individual
or by a group, or, better still, if the town boasts a movie
club, by that well established unit. It might be mentioned
here that most civic films to date have been produced by
the local cinema societies. If the film is made by an in-
dividual, its length would probably be more or less lim-
ited by film cost, whereas, in the case of a club produc-
tion, this expense could be shared; in addition, the club
would receive much free newspaper publicity and recog-
nition for its act of public service.
Another advantage of club production is found in the
division of filming responsibility. Most clubs divide the
city or its sections of special interest into assignments,
one of which is given to each member. Various shooting
problems are discussed at meetings, and notes can be
compared until, within a certain time limit, all film is
turned into the club. At a later meeting or meetings, these
parts are grouped together and edited by the club as a
whole. Title discussions follow until the film is com-
pleted. This arrangement allows for a more elaborate
production in a comparatively short length of time; in
addition, it provides splendid all around training in
filming for the entire group. [Continued on page 170]
147
148
CAMERA VIEWPOINTS
Photographs by C. J. Carbonaro, ACL
rlace the camera level, or tilt it only
slightly upward or downward, for most
action shots. Here the movie maker has
tilted the camera a trifle upward, to get the
best possible view of the subject and the
action of her arm. The result is a normal
view and an effective record of action.
A complicated and "busy" background
usually may be eliminated by the selection
of the best camera viewpoint. If this movie
maker had used a normal eye level view,
he would have included the angles of the
building and its door and roof (not to men-
tion the porch light), to confuse the scene.
An upward shot gave the sky background.
Keep on a level with your subject unless
there is some particular reason for a dif-
ferent viewpoint. The best scenes of chil-
dren and of pets are made with the camera
placed at approximately the height of the
subject.
- 1
?a I II
149
Camera viewpoints are changed, to suit
the purpose of the scene. If you are going
to show a child from its mother's point of
view, you would use a downward shot, and,
if you are to show the mother from the
child's point of view, you would use an
upward angle. The best advice is to think
first of what you want to feature and then
to select the camera viewpoint.
Here the scene has shifted, to present the
mother from the child's viewpoint. The
scene that usually would follow this shot
would be one taken from a normal angle
to include both mother and child, and this
shot would present the conclusion of the
incident or a continuation that would de-
velop it further.
■ =J
H ollywood's "two shot" is shown here. This method of
including the back of the head of one character and of
emphasizing the face of a second subject at the same time
is a favorite means of presenting dialog.
150
URGENT
WHERE HAVE YOU FILMED?
At the request of authorities of the United States gov-
ernment, the Amateur Cinema League is engaged in
locating personally made motion picture footage, still
photographs and transparencies of areas outside the United
States. It is desirable and necessary to broaden the base of
this activity by building up an index of films, photographs
and transparencies in the hands of persons who have
traveled OUTSIDE THE UNITED STATES and who
have filmed and photographed in the course of their travel.
If you have filmed or photographed OUTSIDE THE
UNITED STATES, you are requested to answer the
questionnaire on the opposite page, as a patriotic duty.
Questions that will naturally come to your mind are made
clear in the form itself. Information is requested from all
filmers and still photographers, whether they are members
of the Amateur Cinema League or not. Report all footage
on any country, if the footage exceeds five feet. Report all
photographs and transparencies, whatever their size. Qual-
ity is unimportant; subject matter is paramount. It is par-
ticularly requested that you act promptly.
w~
ROY W. WINTON
Managing Director
Amateur Cinema League, Inc.
151
URGENT
IF YOU HAVE FILMED OR PHOTOGRAPHED
OUTSIDE THE UNITED STATES
ANSWER THE QUESTIONS BELOW
AS A PATRIOTIC DUTY
(Please print)
Last name —
(Cut here)
-; first name-
-; Street and Number-
City-
-S+ate-
-MOTION PICTURES-
Countries
Visited
Length of Width of film
Date of footage (35mm.; 16mm.;
"is,t of country 9l/2mm-: 8mm.)
Black and
white or
color
STILL PHOTOGRAPHS ,
Have you prints
Number Size of
you have negatives
from these
negatives?
(If space is insufficient, please prepare separate sheet.)
, TRANSPARENCIES . v
Color or
Number Size b|ack and
you have wn;+e
1. // requested, will you send the footage and/or the still photographs
to the United States government for examination, with its assurance
that they will be returned to you intact, at its expense?
2. // requested, will you give the United States government permis-
sion to make, without cost to you, duplicates of footage or still photo-
graphs that our government may need, with the assurance that the
duplicates will be used by the government only?
3. If you have shown any of these films or still photographs to any
Mail to
AMATEUR CINEMA LEAGUE, Inc.
420 Lexington Avenue
New York, N. Y.
government agencies, indicate which ones and when.
4. Are vou a citizen of the United States of America?.
5. If you are not a citizen, of what country are you a citizen or
subject?
(Signature)
Illustrations by Visual Facts
153
LETTERING
FOR YOUR TITLES
VICTOR ANCONA, ACL
DO YOU want titles that reflect your
personality? Do you want titles that
contain a warm, human, individual
touch? Then get ready for a new ex-
perience. You are going to hand letter
your titles!
Hand lettering is simple. Hand letter-
ing is flexible. You can control the size
of the letters; you can make them thick
or thin, light or dark. You can control
the spacing of the lines and of the indi-
vidual characters. It is easy and it re-
quires only a few inexpensive tools — a
p°n holder, several sizes and styles of
lettering pens (you can start with one
size and style), a bottle of India ink,
drawing paper and you.
"But I'm not a lettering artist!" you
will protest.
That may be true; but, with a few
simple rules to follow, you will be ready
to turn out well lettered, easily read
titles that will do justice to your best
movie shots.
Movie titles should be read. This
statement may sound obvious, but few
movie makers who letter their own titles
seem to bear this in mind. Yes, titles
should be read — easily and without
effort. Keep this rule in mind — your
lettering must be simple. Don't use
"arty" letters, such as those shown in
the horrible examples at the bottom of
this page.
The art is to conceal the art. If you
were conscious of the individual letters
of type as you read this article, your
eye would rest on the individual char-
acters and would cause your mind to
stray from the main thought. A well
lettered title does not call attention to
itself but, rather, to the message to be
read. In choosing a letter form, it is best
to follow the pattern laid down by world
famous typographers.
Following are several alphabets for
you to choose from.
ABCDEFGHIJ|KLM
NO PQRSTUVWXYZ
ABCDEFGHIJKLM
NOPQRSTUVWXYZ
ABCDEFGHIJKLM
NOPQRSTUVWXYZ
ABCDEFGHIJKLM
NOPQRSTUVWXYZ
They were selected for their simplicity
and inherent good design. It would be
well, therefore, to follow them closely.
For special main titles, in which the
message is concentrated in a few words,
other styles may be used. You will find
additional styles by glancing through
numbers of Movie Makers or other
national magazines.
Let us choose Lydian, as an example,
and use LETTERING FOR YOUR
TITLES, which heads this article. Study
the individual characters of the type face.
Notice that some are wide, others narrow.
Try combining a few of the letters into
words. You will need more room for
the round characters, such as 0, C, M
or W, as compared with I, T, J or L.
Train your eye to see the spaces left
between each letter and compensate for
them. You will soon realize that mark-
ing off equal spaces for each letter will
never do. Note Fig. 1. The letters in the
word MOVIE, in example A, are ap-
proximately equally spaced, while the
[Continued on page 173]
• I, 2, 3 and 4. First sketch the format
of your title arrangement. A and B —
wrong and right letter spacing. Below,
avoid fancy letters like these.
How this interesting job
can be done by anybody
L
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* Tims
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VC)\\\U THEg
V
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TEES
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Y
155
Simple film plan that is
basis for Easter movie
THE Easter Parade, like charity, should begin at home.
Whether your parade ground is Fifth Avenue or Main
Street, don't be content with just a few random shots of
fine feathers and furbelows. Try getting your family into
the film as well, for, after all, the ceremonies of Easter
Sunday, both secular and sectarian, are essentially a
family matter. We present below a suggested scenario for
such shooting, based on our own experiences of yester-
year.
Let us call it Easter at Home.
Title. The Easter Hunt gets under way.
1. Medium shot. Interior of a home living room. Two
little lads in pajamas walk into the scene from behind
the camera, hunting for Easter baskets.
2. Medium shot. The children walk toward the cam-
era, reaching the center of the room. After looking around
for a short while, both start off in opposite directions.
3. Semi closeup. One child is kneeling, to look under
a heavily upholstered chair.
4. Semi closeup. The other child is attempting to kneel
on a chair; he looks in back of a large vase on a book-
case.
5. Closeup. The older scratches the back of his head
and, in Dick Tracy fashion, scans the room.
6. Semi closeup. The two youngsters stop searching
and seem to argue with each other.
7. Closeup. The younger child speaks:
Title. "No, Daddy said this was the room."
8. Semi closeup. The older of the two begins to ex-
plore behind the window draperies.
9. Medium shot. The younger child comes rushing
across the room to his older brother.
Title. "There is something under that couch — way, way
back!"
10. Semi closeup. Two little pairs of legs are stretched
out on the floor. The boys' heads are under the couch.
11. Semi closeup. A different viewpoint, as the boys
wriggle out. One of them has a sofa pillow which is all
that they found. Both are disgusted.
12. Medium shot. The smaller lad jumps up and starts
to walk away.
13. Semi closeup. The older boy scrambles to his
feet and hurries after the younger.
14. Medium shot. Both children reach the side of the
radio or some other large piece of furniture in the room.
15. Semi closeup. First one boy, then the other, points
excitedly toward the hiding place.
16. Closeup. Easter baskets, bunnies and other Easter
toys.
17. Medium shot. Both children take the baskets and
other toys from their hiding place and carry them to the
middle of the room.
Photograph by Harold M. Lambert from Frederic Lewis,
lettered by Stahl Editing and Titling Service-
GABRIEL V. PASCARELLA, ACL
18. Closeup. The older boy's hands rummage through
one of the baskets hurriedly.
19. Closeup. The younger boy happily holds a plush
bunny in one hand and a large sugar egg in the other.
20. Medium shot. Both children are in the foreground,
seated on the floor, with baskets and bunnies around
them. Mother appears at the door of the room.
21. Semi closeup. Mother speaks and motions to the
children to come to her.
Title. "Hurry! Time to be getting ready for church."
22. Medium shot. Both children scramble to their feet
and walk away from the camera toward Mother.
23. Semi closeup. Both children are in the bathroom,
washing.
24. Semi closeup. Mother walks up to the children.
25. Closeup. The children wash, and Mother super-
vises. She says:
Title. "Dont forget behind the neck and ears."
26. Closeup. One boy scrubs his neck.
27. Closeup. The other boy scrubs his ears. Dissolve
or cut to:
28. Medium shot. Both children, completely dressed,
admire each other.
29. Medium shot. Father and Mother join the boys.
30. Semi closeup. Mother and Dad, smiling.
31. Closeup. Mother shows her new bonnet to Father.
32. Medium shot. The family leaves the house. They
all walk to the car, which is parked at the curb.
33. Semi closeup. The family enters the car, after
which it drives away.
34. Long shot. The automobile approaches the curb
in front of the church. In the foreground, other church
goers arrive. (Here, you can plan to have your relatives
and neighbors take part in a few scenes. They can be
shown charting and greeting one another as your family
emerges from the car.)
35. Medium shot. As your family walks away from
the car, have some of your friends come up to them and
exchange salutations. (This shot will give you an oppor-
tunity to film various members in their Easter finery.
Here, you can take as many shots as you like of your
friends and relatives arriving at church. They will be
thrilled to see themselves featured in your Easter
Parade.)
36. Medium shot. Mother and both children enter the
church with other parishioners. Fade out.
Title: Amen! Services are over.
37. Medium shot. The family and friends leave the
church. (Here, you may also try to include some more
shots of your friends. With a little persuasion, a few of
the ladies might condescend to show some of their Easter
outfits for your camera. [Continued on page 174]
Sndoo^i...
KODACHROME (Daylight) 8-mm. and 16-mm. The
full-color outdoor film that's as easy to use as black-and-
white. May be used indoors with regular Photofloods,
too, when exposed through a Photoflood Filter — or with-
out a filter when blue Daylight Photofloods provide the
illumination. 8-mm. rolls, $3.65; magazines, $4. 16-mm.
100-foot rolls, $8.55; magazines, $5.
KODACHROME (Type A) 8-mm. and 16-mm. The full-
color film that's color-balanced especially for indoor
filming under regular Photofloods without worry about
filters. Can be used as an outdoor color film, with regular
outdoor Kodachrome exposure, and with typically fine
Kodachrome results, when exposed through a Koda-
chrome Filter for Daylight. 8-mm. rolls, $3.65; magazines,
$4. 16-mm. 100-foot rolls, $8.55; magazines, $5.
CINE-KODAK SUPER-X "PAN" 8-mm. and 16-mm. A
fast and fully panchromatic black-and-white film with
marvelous brilliance, clarity, and fine grain for general
outdoor filming. Fast enough, too, for making indoor
movies by artificial light. 8-mm. rolls, $2.40; magazines,
$2.70; 16-mm. 100-foot rolls, $6.40; magazines, $3.75.
CINE-KODAK SUPER-XX "PAN," 16-mm. only. The
super-fast panchromatic film that gets the movies other
films can't reach indoors, outdoors at night, and in
weak daylight. So fast, in fact, that it shouldn't be used
outdoors in sunlight, even at //16, unless slowed down
by a Neutral Density Filter. 16-mm. 100-foot rolls, $7.20;
magazines, $4.30.
CINE-KODAK EIGHT "PAN." The low-cost "Eight" Pan-
chromatic Film that made 8-mm. movies first possible,
then popular. Fast enough for indoor shots under gen-
erous Photoflood illumination. 8-mm. rolls, $2.15.
CINE-KODAK SAFETY "PAN," 16-mm. only. The low-
cost 16-mm. Panchromatic Film with remarkable bril-
liance and detail. Supplied in 100-foot rolls, only — $4.80.
Ail prices include processing and are
subject to change without notice.
there are memorable movies to be made . . . and here
are the first-choice films with which to make
With every Cine-Kodak Film, its own expo-
sure card. You merely slip the card packed
with each roll of Cine-Kodak Film into the
Universal Guide attached to your camera — or
into the Pocket Model of the Guide — and
there are your exposure instructions for
indoor and outdoor movie making.
EASTMAN KODAK COMPANY, ROCHESTER, N. Y.
158
George Valentine Enell and Associates
• A few of the night clubs and
entertainment spots where you
can use your movie camera.
Top, left, Ice Show in Terrace
Room of Hotel New Yorker;
right, Vincent Lopez at Hotel
Taft. Bottom, left, Cafe Soci-
ety's uptown show; right, re-
hearsal at Martinique.
Libsohn-Ehrenberg
A CINE CAMERA ON THE UNIGHT OFF
//
New York offers fun hunters a filming field
w
ITH a fast lens and fast film, you can make movies
of the stage shows of night clubs, the antics of
orchestras and singers and the other entertainment offered
by the "hot spots" of New York and other cities. You
can shoot well lighted events with Type A Kodachrome
and, with ultra fast black and white film, you can catch
almost anything that you are likely to want. There is
nothing to prevent you from taking your movie camera
to a night club — that is, if the night club will permit it.
Some do and some don't.
At the insistence of numerous filmers who don't want
to leave their cameras at home, when they set out for a
night's frolic on the town, we have sounded out the popu-
lar night clubs in New York on the subject of taking
movies in their gilded interiors. Hearkening back to
earlier days, your correspondent has approached (figu-
ratively) some thirty boites de nuit in this city of "hot
spots," occasionally to be snarled at and often to be wel-
comed with gusto.
Herewith we present our findings, with the hope that
they will be of assistance to nocturnally minded movie
makers. The list that follows is in a somewhat geographi-
cal order, although it would be considered foolhardy to
GORDON L. HOUGH
visit all the places in a single night.
It must be noted that the permissions to film which we
have elicited from many places apply specifically to film-
ing with a movie camera. The excesses of the candid
camera fiends have made them unwelcome in many night
clubs, and a movie maker can take his well behaved
camera to many spots where the "shutter bug" with the
flash bulb is banned.
Beyond the George Washington Bridge is Ben Marden's
Riviera, a fabulous spot of glass brick and gay colors.
This year, for the first time, they are keeping open during
the winter, but their large Summer Room, which com-
mands a superb view of the Hudson, will not open until
May. Meanwhile, cine filmers are welcome in the Winter
Room, small or "intimate" in night club phraseology.
Returning to Manhattan Island and plunging further
south to the end of Central Park, our light hearted group
reaches the Essex House's Casino-on-the-Park. This room,
featuring Evalyn Turner's orchestra, gives an uncondi-
tional "OK" to movie making. Two blocks south, on 57th
Street, is La Martinique with a colorful, new show, staged
by Nat Karson, to test your cinematic skill. Those in
charge here will even let you [Continued on page 169]
159
AMATEUR
CLUBS
Schenectady triumph
More than 400 members and
guests of the Schenectady
Photographic Society, ACL, city officials and members of
the film's cast gathered recently in that city's Nott Terrace
High School for the premiere of For Safety's Sake, a club
traffic safety film on 16mm. Kodachrome. The picture was
widely hailed by press and public as a fine contribution to
the educational campaign on urban traffic control being car-
ried on by the Bureau of Traffic and City Planning, under
the direction of Fred W. Fisch. Harry MacMullen, of the
Cine Group, prepared the script, with Harley H. Bixler, ACL.
and Cecil M. Figueroa, ACL, in charge of filming and edit-
ing.
At a later general meeting of the Cine Group, held in its
regular quarters in the Y.M.C.A., Kenneth F. Space, ACL.
technical consultant of the League, was the guest of honor.
Mr. Space presented a program of his own films, which in-
cluded Fluffy, the Kitten, If You Went To The Fair and
two new productions, Big Little Things and Finny, the Gold-
fish.
Screen Maxim winner in N. Y. C. HaiI> British Co-
lumbia.', Maxim
Award winner in 1941. will be presented for the first time
at a screening that will be open to the public on the com-
ing Gala Night program of the Metropolitan Motion Pic-
ture Club, in New York City. The annual gala program, of
which this outstanding film will be the feature, will be pre-
sented in the theatre of the Master Institute, 103rd Street
and Riverside Drive, at 8:30 on the evening of April 24.
Tickets, which must be secured in advance, can be had from
Sidney Moritz. ACL. treasurer of the club, at 160 Claremont
Avenue, New York City, at fifty five cents each, including
9 i>
L ^H ^Pt.kH
/
f* mm ^^^^i^lm
~J
w7 ill B*fl 1^
M71 Hl, -
Triangle Cinema Leagrue
• Filming puppet scene in H. S. Gould production, "Opened
Before Christmas," by Triangle Cinema League of Chicago.
Mary Carrigan is operating the puppet.
What organized groups
are doing ever/where
JAMES W. MOORE, ACL
tax. Hail, British Columbia!, described fully in the March.
1942. number of Movie Makers, was produced by Leo J.
Heffernan, ACL, of New York City.
Philadelphia's best From among the more than forty
films screened at meetings of the
Philadelphia Cinema Club during 1941, members of the
club selected by ballot recently the three best pictures of
the year. These were, in order, Sage Brush and Saddles, by
Boyd T. Barnard. ACL: Glacier National Park, by Francis
M. Hirst. ACL, and Mrs. Hirst; Over Western Trails, by
George Pitman. Honorable mention wras given by the club
to Backyard Beauty, by Herbert L. Tindall. jr., ACL; Bar
Harbor, by Walter Gray; Pennsylvania Scenes, by William
Chambers; Great Smokies, by Robert Crowther, ACL; Fl on-
ers, by Murray Booth.
Double in Chicago Completing the friendly exchange
of programs announced last
month between the two leading Chicago movie clubs, mem-
bers of the Chicago Cinema Club. ACL, were hosts to mem-
bers of the Metro Movie Club, of River Park, in the former's
headquarters in the Civic Opera Building. Metro filming
provided the program, which included Banff and Jasper, by
Joseph Ott; Ice Carnival, by [Continued on page 175]
• Members and guests at the first annual banquet of Movie Makers Club of Kenosha. Wise.
?60
• How a theatrical cameraman
arranges home shot — lighting
units set up by John Arnold,
M.G.M. camera chief, to film
his children.
VU& Cu>>
Technical comment and timely topics for the amateur
Courtesy Bell & Howell Co.
Teiephoto plus supplementary
For those who have cameras with a pro-
vision for visual focusing, the idea that
supplementary lenses may be used in
conjunction with telephotos for extreme
closeup work may be of interest. We
have used the supplementary lens from
one of the small titlers, holding the
auxiliary lens closely in front of a two
and a half inch teiephoto. By extending
the lens past the limit of the focus-
ing scale, according to directions, we
have filled the screen with such small
objects as a lump of sugar, the head of
a toothbrush and many other things.
Title curtains We are happy to
welcome another of
our South American neighbors and
League members to the columns of The
Clinic. This time, it is H. Fernandes,
ACL, of Paramaribo, Suriname, Dutch
Guiana, who sends this clever idea for
pleasing, yet easy to make, title cur-
tains or screens, as shown here. Mr.
Fernandes advises, "Attach, on top of
your title easel (D), a long grooved
wooden lathe (C), upon which two
screens (A and B) can slide easily.
The screens can be made of two sec-
tions of heavy cardboard or light ply-
wood, and the sides that face the cam-
era may be painted with a design, or
they may be covered with some printed
material of paper or cloth — in color, if
Kodachrome is to be used.
"The illustration below shows the de-
vice set up to film an 'End' title. After
the wording has been filmed for the
proper length of time, continue running
the camera and have an assistant push
the screens slowly and at equal speed
toward the center until they close out
the title.
"In the case of a presentation title,
the screens can be drawn back, to re-
veal rhe lettering behind them. All sorts
of adaptations of these ideas are possi-
ble with this titling gadget."
Purple haze melts away Purple
haze
positive stock in 16mm. is no longer
available from the manufacturer and
will not be "for the duration." Purple
haze was a rather fanciful designation
which referred to the color of this spe-
cial film base itself — a light lavender.
Movie makers liked to use this film for
positive titles which were to be spliced
in Kodachrome subjects, because it gave
a pleasing effect which seemed to fit
with color. However, since purple haze
is now unavailable in common with all
CARDBOARD
OR
PLYWOOD
Sliding title curtains for simple trick effect
KENNETH F. SPACE, ACL
other 16mm. stock on tinted bases, we
must accept the outcome as a simplifi-
cation in manufacture which will lib-
erate certain facilities for the nationaj
effort. After all, black and white posi-
tive film is thoroughly adequate for
titles. Further, the resourceful movie
amateur can still produce excellent color
effects in his black and white titles, by
using the simple tinting and toning so-
lutions now on the market.
April showers While very few of
us would devote
much footage to scenes in the rain, it is
nice to have a symbolic shot or two of
the beginning of spring, and showers
are one of the appropriate indications
of that season. An attempt at filming a
shower soon teaches us that rain is easy
to see but very difficult to record in
movies. The result usually is only a
scene that appears to be a bit grainy.
The most effective shots of rain are
those in which the rain is splattering
against something. A happy method of
getting such shots is to set the camera
up in front of a window during a gentle
shower. The camera should be placed
far enough back in the room so that
part of the window frame will be in-
cluded in the scene. When it is properly
filmed, such a shot will show the scene
outside, sometimes clearly and some-
times slightly diffused, as drops of rain
can be seen striking the window pane.
If one does not have patience enough to
wait for these conditions, a fair fac-
simile may be obtained on any cloudy
day, by using a spray of water from
the garden hose. The reason that we
suggest a cloudy day is that a brightly
sunlit background would betray the
trick.
j*|: , I
Convenient editing board We
are
very much in favor of any idea that
161
simplifies the problems of editing, and
we read John L. Dippach's recent letter
with a sympathetic smile. But, here is
how the letter begins:
"As a regular reader of Movie
Makers, I am submitting this idea
which I found to be very useful. After
becoming tired of getting a stiff neck
from viewing my pictures when I was
editing, I built a combination editing
board and rack on a slant!"
Mr. Dippach's idea is illustrated in
the drawing at the right.
Four pieces of plywood were used
(three pieces of one half inch stock
and one of quarter inch stock) . Two
rewinds, a viewer, a splicer with bottles
for water and cement, a small toggle
switch, some pill boxes and some thumb-
tacks were also needed. The legend with
the sketch shows clearly the placement
and dimensions of the various parts, and
we should add only that, where Mr.
Dippach suggests that holes, one and
three quarter inches in diameter, be
bored in the background board, to hold
film coils, pill boxes of similar size may
be fastened to the board with thumb-
tacks, since anybody can obtain the pill
boxes at the drug store, while one
might not have the proper tools to bore
the large openings.
Tripod stabilizer From R. M.
Gridley, ACL,
comes this excellent idea for a "tripod
stabilizer" which, as Mr. Gridley says,
"may be constructed for about fifty
cents and which pays big dividends."
This "gadget" holds the legs of a tri-
pod firmly in position within a restricted
area, and it is very useful in making
movies from a seat at athletic games,
ice carnivals and other events where
limited room is available in which to
operate a camera mounted on a tripod.
We also think that other values may be
found in this device.
ooooooooo
OOOOOQ^)
1.
Board, 8" x 24" x l/2"
2.
Board, 6" x 24" x l/2"
3.
Board, 10" x 24" x l/2"
4.
Board, 10" x 24" x l/4"
5.
Bottles for water and cement
6.
Splicer
7.
Rewinds
8.
Viewer
9.
Bottles for water and cement
10.
Viewer light switch
II.
Two rows of pill box covers,
place by thumbtacks
held in
12.
Rubber headed screws or pins
This locks tripod in small area
Mr. Gridley explains, "The stabilizer
is a triangular piece of three eighths
inch plywood, the sides of which are
about fifteen inches in length. Holes are
bored in each of the three corners, large
enough to permit one of the feet of a
tripod to slip through easily. Beside
each hole, but slightly nearer the cor-
ners of the triangle, a smaller hole is
bored. (See the illustrations below.)
The smaller hole must have a diameter
of sufficient size to receive the tripod
leg snugly, just above its foot. Join the
two holes by cutting a slot between
them, the width of which must coincide
with the smaller hole. Each tripod foot
is locked in its respective hole by a
slotted slip block, fastened securely
with a one quarter inch wing nut. as
can be seen in the illustrations. The
tripod, with stabilizer attached, may be
held firmly in operating position by the
cameraman, who places his feet on the
flat board, thus using his weight to pin
it to the ground or to the floor. When
you are filming a game from the bleach-
ers, it is a good idea to select a seat
that is adjacent to a front aisle."
Filming writing Some movie mak-
ers feel that the
very valuable compensating process by
which certain black and white films are
developed plays them false when they
wish to film black script on white paper.
The large area of white, in such cases,
makes the scene register as overex-
posed to the processing control, and the
resultant scene, when it is developed,
may not have the same contrast that
was desired. For those who are con-
cerned about this effect, we suggest
that, after the correct exposure has
been determined by a meter, the dia-
phragm be opened one stop more than
the meter indicates. This added amount
This homemade editing board has
conveniently tilted work table
of overexposure will be compensated
for and will bring the resultant tonal
value down to about the actual contrast
of the material being filmed. This is a
special instance of exposure manipula-
tion, and it should be followed only
when one is shooting with black and
white film and when the title or scene
is to show black script on white paper.
Non twist tripod top Most tri-
pods are
made to be used with a wide variety of
cameras, hence their tops must be flat,
to accommodate cameras of various
widths. A source of minor difficulty
with some movie makers is the fact that
Aid to keep camera from swiveling
the camera can revolve on the flat top
unless the tripod screw is tightened very
firmly. The camera may be accidentally
turned when the tripod is being moved
from one position to another. The sim-
ple "gadget" shown above, which pre-
vents the camera from swiveling on the
tripod top when the user desires it to
remain stationary, is quite inexpensive
to make. It is merely a piece of thin,
stiff metal, one side of which is bent
downward, over one edge of the tripod
top, and the other side of which is bent
upward to fit snugly against the side of
[Continued on page 172]
SPRING RESOLVE
Spring sounds the call to movie
makers everywhere to film out of
doors. Make one resolve when you
first unlimber your camera — that you
will hold the camera steady! Each
year, thousands of movie makers must
learn, all over again, the importance
of a steady camera. Start right this year
and. when you first shoot out of doors,
take your tripod with you.
162
A PLAN FOR SURGICAL FILMING
Medical movie maker describes his methods
• Specia' « aerations- " * . .
£„rt camera
periecT pound
MARSHALL SMITH, M.D.
THE chief criticism that might be made of the multitude of surgical films that exist
today is that they consist simply of a number of isolated and disconnected pictures.
There is not available a complete series of films which deal with one specialty, from
start to finish. It is as if one could purchase only isolated chapters from textbooks
instead of complete texts.
Hence, our aim, at the Department of Biophotography of Rutgers University, is to
correct the situation in so far as we may. We have been producing films that will
constitute an entire movie textbook about gynecology. Over 3000 feet of film of the
subject have already been produced.
I have been an amateur movie maker since 1926, and I was delighted when the
opportunity arose to work with the Department of Biophotography in the production
of surgical teaching films. I had made a few black and white surgical films previously,
but I was not at all satisfied with the results. In 1935, about the time the Department
of Biophotography was organized, I was using Kodachrome for surgical movie mak-
ing.
During that period and in subsequent work with color filming for the department, I
have discovered that making scientific teaching films in Kodachrome is an entirely
different procedure from making home movies.
First, there are the conditions which must be met if motion picture cameras are to
be used in an operating room. They are as follows.
1. There must be 100 percent factor of safety, as far as the patient is con-
cerned.
2. Cine equipment that is used must in no way annoy or interfere with the
free movements of the surgeon, his assistants or the operating room nurses.
3. Camera and movie maker must be placed so that the field of vision of the
camera will be the same as that of the surgeon, or better.
4. Lighting equipment must provide ample illumination for filming, with-
out the execessive heat and glare of multiple flood lamps at close range, and
the illumination must be under the control of the cameraman.
5. All wiring and switches that are used must be explosion proof, and
there must be no danger of sparks from static.
6. There must be an accurate method of focusing without the necessity of
measuring the distance.
7. There must be an accurate method of determining the correct
exposure.
8. The whole equipment must be portable, to permit use in any
hospital.
After considerable experimentation, we have satisfactorily met
these requirements.
Safety is of prime importance. We cannot allow any unsterile
equipment or individuals to get in contact with anything that is used
in an operation.
I designed a special camera dolly, illustrated on this page,
and had it built, first of steel, then, after the design had proved
satisfactory, out of Duraluminum. It consists of three main
parts. The base is made of two eight foot "H" beams, held
together only at one end. The free ends project on either side
of the operating table. On them stands a tower, built of two
by two inch angles, narrowing toward the top and provided
with a ladder up the back and a platform near the top. To the
* top of this tower is fastened an overhang, also made of two
j^ by two inch angles, which holds the camera. When in position,
■ the camera is eight feet above the floor, and it overhangs ap-
■ proximately four feet beyond the upright support.
To move this dolly from one hos- [Continued on page 171]
PRACTICAL FILMS
163
The non theatrical movie as
used for various purposes
Film Report from U. S. Steel
Approximately three million persons during 1941 at-
tended showings of United States Steel Corporation's
educational films depicting the making of steel, it was
recently reported. This attendance increase of sixteen per-
cent over 1940, it is felt, occurs mainly because of greater
public interest in steel as an essential product of our war
program. These films are in constant use in training
classes in arsenals, colleges and industrial plants; The
Making and Shaping of Steel, reviewed in the September,
1940, Movie Makers, is a required part of the cur-
riculum in some courses of study. U. S. Steel films are
available from company offices in New York City, Pitts-
burgh, Chicago, Cleveland, Birmingham, Ala., and San
duced by The Aetna Casualty & Surety Company, in
Safety Films from Aetna
Designed to acquaint motorists with the new Safety-
Responsibility Law which became effective in New York
State the first of this year, two movies have been pro-
duced by The Aetna Casualty & Surety Company, in
Hartford, Conn. The Right to Drive tells of a driver who,
becoming involved in an accident, proves to be unable to
meet the requirements of the law and so loses his license.
He and his family forego the pleasure and convenience of
driving a car until he manages to raise the money to ful-
fill his obligations for the accident and for the necessary
insurance. Thou Shalt Not Kill points out the principal
causes of accidents and shows briefly how one may be-
come a careful motorist. Reckless driving may result in
confiscation of a license until the driver proves his abil-
• Frames from "Old Ideals and New Horizons," film
for Wheaton College, made by Robert F. Sowen, ACL.
GORDON L. HOUGH
ity to pay for any damage that he may cause. Governor
Lehman, of New York, and Motor Vehicle Commissioner
Mealey explain the new law and the reasons for its enact-
ment. These two 16mm. sound films are distributed by
New York State offices of both The Aetna Casualty &
Surety Company and the Bureau of Motor Vehicles.
West Hartford Host to CAVEA
The first meeting of the new year of the Connecticut
Audio-Visual Education Association took place at the
James Talcott Junior High School in West Hartford,
Conn., on January 17. After the call to order by Edward
F. Wheeler, ACL, president of CAVEA, the delegates
were welcomed by Lloyd Bugbee, superintendent of West
Hartford Schools. Alonzo G. Grace, State Commissioner
of Education, William H. Couch and Ralph Rochefort
White were the featured speakers of the occasion.
Good Neighbor Film
The seasonal flights of birds all over the American
continents, irrespective of boundaries and man made
laws, constitute the theme of High Over the Borders, a
two reel movie prepared jointly for the Office of Inter-
American Affairs, the National Film Board of Canada
and the New York Zoological Society. Most of the foot-
age came from the newsreel and nature libraries of the
National Film Board, while John Fenno did the new
camera work and the editing. Irving Jacoby was the
writer and director, Phil Brown was the narrator and
Vittorio Giannini composed the musical score. The Na-
tional Film Board is handling [Continued on page 175]
16mm. scenes by Robert F. Gowen, ACL
164
NEWS OF
THE INDUSTRY
Answers the query
"What's new?" for
filmer and dealer
• Caspeco Professional Tripod, made by Camera
Specialty Co., is sturdy, durable and attractive.
• New Kodascope Sixteen-10 features efficient design
and is built especially for lamps up to 750 watts.
• Adolph Stuber, recently elected
vicepresident of Eastman Kodak Co.
RUSSELL C. HOLSLAG, ACL
Workers aid defense Employees of all photographic divisions of the
Eastman Kodak Company, Rochester, N. Y.,
have shown an "all out" enthusiasm in aiding the national war effort. It is
stated that eighty nine percent of Kodak employees are buying defense
bonds by the payroll plan. An additional four percent are purchasing bonds
in other ways, making the complete total over ninety percent.
Non metal reel files Movie makers who use 8mm. now have available
a new item in compact, nicely finished carry-
ing and storage cases for transporting and filing films. These are the Victor
Reel Cases, made by Western Movie Supply Company, 245 Sutter Street,
San Francisco, Calif. The cases are neatly finished in black or brown Fabri-
cord, and the reels themselves are contained in removable, book like com-
partments. The Model VCW, complete with eighteen plastic reels, sells for
$16.75. The Model VCC, which is similar but which does not include the
plastic reels in its price, sells for $10.00. Individual files, each holding six
200 foot, 8mm. reels, may be purchased separately.
Air raid film A timely new film, which is said to be the first on this
specific subject to be produced in America, has been re-
leased by Brandon Films, Inc., 1600 Broadway, New York City. Its title is Air
Raid Warden, and it conveys its instruction in the form of a story told by
a typical warden as he performs his varied functions. The film is in 16mm.
sound and sells for $25.00. The subject is also available on a rental basis.
Teitel's tones and tints The name 01 Albert Teitel has been famil-
iar to movie amateurs since the beginning
of substandard film. Mr. Teitel originally entered the 16mm. field with a
background of long experience in laboratory work, and he originated the
Teitel Scratch Proof and Long Life processes. He is now extending his
activities in the field and has developed a new set of easily worked tones and
tints, to be marketed under his name.
It is stated that the new process has effected a special simplification of
toning, since the result is gained through the use of one powder, one solu-
tion and one operation. The Teitel color tones come in a neatly boxed
package containing four capsules, which will tone any 8mm. or 16mm.
black and white film a blue, brick red, sepia or green. These tones color
the blacks and grays of the picture, leaving the high lights unaffected. The
tints, on the other hand, color the high lights of the picture, leaving the
blacks as they were. The tints come in colors of red, blue, yellow and
orange. Interesting experiments in combinations of tinting and toning may
be made, and the Teitel Laboratory will be pleased to give advice to
amateurs and professionals on special effects. A complete package of four
tones and tints sells for $1.50. Manufacturers are Teitel Laboratories,
P. O. Box 123, Corona, N. Y.
Film directory A new edition of the Victor Directory of 16mm. Film
Sources is to be issued shortly. In spite of the fact that
only a few months have elapsed since the publication of the eighth edition
of this well known book, it is said that an un- [Continued on page 176]
MOVIE MAKERS
It's a dog's life!
[Continued from page 145]
the local game warden to fetch you a
couple of dozen nice fat breeders from
the game farm. They are pen raised and
can't fly too far or too fast, for easier
spotting and shooting. In the morning,
you make a cover trap from a wire bi-
cycle package carrier and place about
eight quail under the trap. You allow
the dogs to see the birds; then you back
them up fifty yards and turn them loose.
Yowser! You sure know something
this time, for the first brace of dogs
makes a beeline for the potted birds,
and you have the camera running, ready
to pick up the point, from a dead run.
Well, of all the bad breaks — the dogs
stop at the hidden cage and wag their
merry tails and set up a series of un-
dignified barks.
Somebody guesses that there is no
scent — so you tie black thread to each
bird's foot and lead him around for a
nice quiet walk. Then you take a bird
in each hand and whirl your arms
around like a baseball pitcher winding
up. You did it once before with pheas-
ant, and it really puts the birds to sleep.
Slipping their heads under their wings
will make it work better, but you may
snap a neck if you don't handle them
with special care.
After you whirl the birds around
about five times, you quickly slip them
into heavy tufts of field cover. You
place all the birds in a sort of circle,
not over four yards in diameter, and
back off to watch. In about two minutes,
the quail snap out of their stupor, but
they hug their hidden nests, thinking
that you don't know where they are.
Now you try the dogs again, with the
camera already focused on the "hot
spot." Ah! This time you pull the "jack
pot." The leading setter catches a whiff
ten feet away from the birds and freezes
as if he were hynotized. The big rangy
pointer honors the setter's point in such
a hurry that he is nearly bent in half
and left standing on three legs. Now
you can easily knock over two for the
meat pot. The double retrieve is a
"steal." How those dogs know how to
divide up the fallen game and not both
go after the same bird is something so
fascinating that I forgot to ask about it.
Yes sir, shooting dog stories is a
"snap" if you have imagination, patience
and enough film — and what has a fel-
low got a camera for if he hasn't these
three items? How long, you ask, did it
take me to figure out this stuff? You
got me, partner, I confess. I have been
at it for fifteen years, and I still can"t
make 'em work every time.
165
GRAFLEX
GETS IT
THERE'S a pleasant sense of reserve
power about a Graflex. Maybe you
don't need a shutter speed of 1/1000 often,
but when the need does come you can meet
it, with a Graflex. And capitalize on it.
Speed is only one of the Graflex's capa-
bilities. It gives you right-side-up ground-
glass focusing that eliminates guesswork
Graflex and Graphic cameras are made by the Folmer Graflex Corporation
either for distance or for composition.
With the 2*4 x 3\4 Series B, illustrated
here, you have a revolving back, the fa-
mous 5V2 " Kodak Anastigmat //4.5 lens,
25 focal plane shutter speeds, and adapta-
bility to plates, film packs, or sheet film.
Investigate the Graflex. Your Kodak
dealer will be glad to show it.
EASTMAN KODAK COMPANY, ROCHESTER, N. Y.
SAY Q*£pH0T0H00dS..
get the BEST BALANCE ^^
of picture-taking LIGHT,
LAMP LIFE and color temperature
Lamp life, light and color temper-
ature move together in balance.
If you gain on one side you
lose on the other. That's a
fact checked by 60 years of
lamp-making and research. So
General Electric controls this
balance of light, life and color to
fit your needs best ... and gives it
to you uniformly, at low cost, in
G-E MAZDA Photoflood lamps.
GENERAL (gjp ELECTRIC
MAZDA PHOTO LAMPS
166
APRIL 1942
A Beautiful Color Movie of
Washington Prior to the War
Here's a soothing, exquisitely lovely color
movie made of your Nation's Capital during
Cherry Blossom time. It shows the famous Cherry
Blossoms in their natural, glorious color, shots
of President Roosevelt at the egg rolling on
the White House lawn, shots of Vice President
laying wreath on Unknown Soldier's Tomb and
other famous events. Here's a movie that's
historically famous as well as artistically per-
fect. Reserve yours, now.
1 00 ft.
16 mm.
$1750 so* $1050
II 8 mm. I fln
Send check or money order to
BYRON'S Inc.
625 15th St., N. W., Washington, D. C.
One of the leading motion picture producers
in the East
IS COMING TO l6MM FILM
WATCH FOR IT!
J.A.MAURERJNC.
11T EAST 2»* ST. NEW YORK
\V
&
CIVILIAN DEFENSE
TRAINING FILM
"AIR RAID WARDEN"
A calm, carefully made presentation of the warden's
role before and during a blackout.
1 reel — 16mm. sound — 10 min. Rental $2.50 — Sale $25
ORDER YOUR COPY N0W1
Dept. "MM"
BRANDO N FILM S J,™ £?-c"S
NOW IT'S EASY
to TINT or TONE
with TEITEL'S Guaranteed
Capsules
ONE powder
ONE solution
ONE operation
For black and white movie films,
titles, slides or photographic prints.
TONES
Blue
Brick Red
Sepia
Green
TINTS
Red
Blue
Yellow
Orange
Neatly packed, four to a box
with complete directions $1.50
TEITEL LABORATORIES
P. O. Box 123 Corona, N. Y.
Films you'll want to show
Non theatrical movie offerings
for substandard projection
B Sahara, 16mm. sound and silent and
8mm. silent, one reel, is an exotic mo-
tion picture travelog, released by Castle
Films, Inc., 30 Rockefeller Plaza, New
York City. Here we journey to Fez,
with its street fakirs, bazaars and na-
tive dancing. We hear the muezzin call-
ing from the tower of the mosque. We
travel over the burning desert sands to
the welcome relief of an oasis. A sand-
storm in action is a feature of this in-
teresting film.
■ Cloistered, 16mm. sound on film,
running time, seventy one minutes, is
distributed by Nu-Art Films, Inc., 145
West 45th Street, New York City. This
subject constitutes an authentic and
impressive account of the entrance of
a novice to a convent and of her spir-
itual experiences in successive stages
up to the time of becoming a nun. It
was filmed by special permission of
Pope Pius XII, and it has the endorse-
ment of ecclesiastical authorities of the
Catholic Church.
sound, produced with the cooperation
of the U. S. Marine Corps, follows a
marine recruit from his induction,
through the various stages of training,
up to the work of the Marine para-
chute troops. The film is climaxed by
full stage infantry, artillery and naval
landing maneuvers. It is released by
Official Films, 330 West 42nd Street,
New York City.
• Suffer Little Children, three reels,
16mm. sound and color, is a reverent
portrayal of some of the representa-
tive examples of Christ's ministry,
filmed in a natural environment, with
authentic costumes. It is the third in a
series of Biblical presentations, made
in 16mm. Kodachrome, with recorded
dialog and background music. These
subjects are available from Astor Pic-
tures Corporation, 130 West 46th
Street, New York City.
B The Marines Have Landed, one reel,
8mm. silent and 16mm. silent and
■ Swing It, Sailor, 16mm. sound on
film, running time, sixty five minutes,
is a breezy action subject having to do
with two sailors in the United States
Navy. Husky Stone, the strong man of
the pair, thinks that romance has come
to him, a situation which meets with
the disapproval of his "pal," Pete
Kelly. How Husky finally loses the girl
and signs up for four more years is
told in a rousing style. The subject is
MOVIE MAKERS
167
distributed by Post Pictures Corpora-
tion, 723 Seventh Avenue, New York
City.
' It's a Greek Life is an entertaining
16mm. sound cartoon, in the new three
color Technicolor process, one reel in
length. In the story, the Greek god Mer-
cury arouses the envy of a shoemaker
who steals the famous winged sandals.
His flying attempts, however, are so
clumsy as to get him into all sorts of
trouble. Matters are straightened out
by a couple of clever ducks. The sub-
ject is one of a series of color and
sound cartoons released by Common-
wealth Pictures Corporation, 729 Sev-
enth Avenue, New York City.
B Way Down South, 16mm. sound on
film, running time, eighty minutes, is a
realistic story of Louisiana in ante bel-
lum days. The child singer, Bobby Breen,
plays the part of a courageous lad who
struggles to hold together the planta-
tion inherited from his father. He sings
melodious spirituals, supported by the
Hall Johnson choir. The subject is re-
leased by Walter 0. Gutlohn, Inc., 25
West 45th Street, New York City.
Next trip — Quebec
[Continued from page 146]
tain's foot to the water's edge. From
the top can be seen the blue of the
famed Laurentians and the Adiron-
dacks, just south of the international
boundary. Looking westward, we see
the sparkle of water. Part of the great
inland waterway, stretching from the
Great Lakes, flows directly below us
and on to the eastward, to be lost in
the distance as it nears the end of its
long journey to the sea. Kodachrome
is very much in order, and on most
days a haze filter can be omitted.
Your "cabby" will point out interest-
ing landmarks, and you may find that
a few closeups of his animated gestures
will be a real asset to your story.
Montreal is famous for its churches.
Notable among these are Notre Dame,
modeled after Notre Dame in Paris,
and St. James Cathedral, a reproduc-
tion on reduced scale of Rome's mighty
St. Peter's. Montreal is the home, too,
of the shrine where Brother Andre
worked his miracles and where he died
not long ago. Today, the dome of a
great church rises on the northwest
slope of Mount Royal, and it is a dom-
inating landmark, visible for many
miles.
Sharp contrasts are encountered in
this ancient modern city. Along the
harbor front stand monolithic grain
elevators, loading the ocean liners
which carry grain to Liverpool and
other ports. The wharves are easily ac-
cessible and afford many interesting
viewpoints, splendid opportunities for
pleasing light and shade effects and
shots of busy harbor life. Almost with-
in a stone's throw is Bonsecours Mar-
ket, where farmers bring their vege-
tables, fruit and tabac Canadien to be
pinched, scrutinized and bargained for
in time honored fashion by the thrifty
citizenry. Here you will find a real
"happy hunting ground" for human in-
terest subjects.
The boat trip between Montreal and
Quebec City is justly popular, giving
as it does a splendid view of both
shores of the river. The trip is not ex-
pensive, and the white cruise ships of
Canada Steamship Lines afford every
luxury. The motor highway follows the
river. It provides an inviting movie prel-
ude to shots of the pastoral beauty of
the French Canadian countryside, which
becomes more rugged and impressive
as it approaches the Gulf.
High on its rampart girded heights
is the Ancient Capital of New France —
Quebec City. The fortifications still
stand, and behind the city stretch the
Plains of Abraham, where Wolfe and
Montcalm waged the death struggle
which replaced the French with the
British flag and brought a hero's death
to both. Their statues, framed against
the fort, will make a good addition to
your historical collection. Steep cobbled
streets climb from the Lower to the Up-
per Town, and in some sections of
the city there is barely room for two
cars to pass.
Half an hour's drive from the city
is Ste. Anne de Beaupre, a shrine which
attracts pilgrims from all parts of the
world. Crutches are piled high, to bear
witness to the healings which the faith-
ful have experienced at this sacred spot.
On the way is Montmorency Falls,
higher than Niagara, where excellent
shots can be made from platforms over-
looking the falls.
PLAN NOW
TO WIN
COME to CANADA
16mm. MOVIE CONTEST
Many fine movie shots are made in
Beautiful New Brunswick, one of the
four co-operating Canadian Provinces
offering prizes.
WHAT AN OPPORTUNITY TO
COMBINE A GLORIOUS VA-
CATION WITH THE CHANCE
TO WIN THESE VALUABLE
PRIZES!
$500
and
ALL-EXPENSE TOURS
CHOOSE ONE OF THESE
PROVINCES FOR YOUR TRIP
British Columbia.
Awe inspiring
grandeur of
mountain, lake and forest. De luxe accom-
modations for travel and sojourn. A choice
of several tours in this Province.
ft„.L., Old France brought to Canada.
yueoec. Quaint and colorful old world
scenes and customs. The great cities of
Montreal and Quebec and the Acadian coun-
tryside. The prize is an all expense tour of
three weeks.
New Brunswick. ^c^e^
Action aplenty, too, in the great salmon
angling streams of this Province. A choice
of general scenic attractions or a canoe
camping trip is offered.
Prince Edward Island. ^aTmosl
sphere, sparkling skies, sun and surf, this
Island Province is outstanding. Sports and
colorful scenery vie to capture the camera's
attention.
•One prize will be granted by each of the
four co-operating Provinces for the best
film about that Province, the prize consisting
of a free tour for two persons within that
Province. There will be, in addition, a cash
prize of $500.00, given by the National Film
Board, to the film considered by the judges
to be the best of the four films winning the
free tours offered by the Provinces concerned.
Write for complete Contest Rules or see
February MOVIE MAKERS. Page 92.
NATIONAL FILM BOARD
OF CANADA
OTTAWA, CANADA
168
APRIL 1942
Buy CRAIG for
Better Editing!
The Craig Projecto-Editor
For "Action-Editing" the Hollywood Studio way! — ■
permits careful inspection of brilliant, flickerless
motion on its miniature screen. With the aid of
the CKAIG PROJECTO-EDITOR, many an unin-
teresting collection of random "shots" can be
easily transformed into smooth running sequences
. . . interest- sustaining continuities that everyone
will enjoy seeing.
8mm Model, complete with splicer, rewind
and film cement $37. 50
8mm Projecto-Editor alone 29. 50
16mm Model with Sr. Splicer and re-
winds 59. 50
The Craig Senior Splicer
Makes professional splices easily — only four
simple operations and without wetting the
film. Equipped with cutter and dry scraper ;
permanent splices are guaranteed accurate in
every detail to 1/1000 of an inch.
List Price SI 0.95
-AT ALL DEALERS.
WRITE FOR NEW, FREE FOLDER
CRAIG MOVIE SUPPLY CO.
1053 So. Olive St., Los Angeles, Calif.
FILMS- PROJECTORS
Ampro, Bell & Howell, Victor Projectors,
new and used.
Bargain sale lists of sound and silent films.
Excellent sound or silent rental library.
Write Today
Harris Home Movie Library
303 W. 42nd St. N. Y. C.
16mm SOUND on film
Recording Studio and Editing Facilities
BERNDT-MAURER RECORDER
GEO. W. COLBURN LABORATORY
1 197-M Merchandise Mart Chicago
gasssatp-
Send for
Supplemental
Price List
of my
CINE BARGAINGRAM
Lists hundreds of attractive items, new
prices on Movie Cameras, Lenses, Pro-
jectors, Sound Equipment, Photo Electric
Cells, Turntables, Projection Bulbs, etc.
Every movie fan should have this impor-
tant document.
Write Dept. C
smweo.
179 W.MADISON ST., CHICAGO, ILL.
If you have decided to go by boat,
then a most effective sequence can be
obtained from the top deck of your ship
as you leave Quebec — that is, you can
if wartime conditions permit the shot at
this time. Your camera, held to frame
the view between the funnels of the
steamer, will give you the smoothest
trucking shot imaginable as the boat
pulls out.
As we travel down the river, our cam-
era will record the passing vessels and,
in sharp contrast, the small "chuggers,"
piled to their very edges with logs,
en route to the pulp mill. With a little
inland investigation on your part, you
will have no difficulty in finding wind-
mills and water wheels that still turn,
oxen plodding before the plough and
bread being baked in outdoor ovens.
In the shade of the barns are the wo-
men folk, busy at hooked rugs or Mur-
ray Bay blankets. Here is color, color,
color — new dyed wools, the green coun-
tryside, the blue of sky and river, sandy
beaches, the gleam of drying fish nets.
No two movie makers will interpret
all this in the same way. Some will
want a series of short scenes of the
various handicrafts. Others, because of
the fascination of old world ways, may
want to dramatize the whole story of
weaving, starting with the flax plant,
in the case of linen, or with the sheep
which provide the wool that is woven
into everything from hand towels to
rugs. The carding, the dyeing, the spin-
ning, the washing, the drying — all are
here for your camera to record.
There will come a time, no doubt,
when you will want to indicate your
gratitude to your habitant friend for his
trouble. I suggest that you take along
a still camera and with it take a few
snapshots of his family. Send him
prints, after you get home, and you and
your friends, if ever you go back to
film again, will find him the very soul
of cooperation! Many of these people
have never seen a movie, have never
heard a radio. The habitant still believes
that the simple life is best. His interests
are few and sincere; they center in his
farm, his family and his God. When the
Angelus rings in the village church, the
habitant still kneels on the ground
where he has been toiling, to thank the
Bon Dieu for his blessings.
In sharp contrast to all this is the
Manoir Richelieu, at Murray Bay, on
the north shore of the St. Lawrence.
The elite of two continents come to this
superb resort for golfing, swimming,
riding and all the other amenities of
vacation life. The American colony,
which is unusually large, was distin-
guished in earlier years by the presence
of former President Taft, who spent
many summers here.
A long shot of the Manoir from the
water, taken as you approach Murray
Bay, could precede views of its hand-
some entrance and spacious, terraced
lawns. The shots will contrast sharply
with the rural atmosphere of your ear-
lier scenes. Perhaps you will linger here
for a few days. If you do, you will
naturally enjoy swimming in the pool,
and there you will have ample oppor-
tunity to get some "bathing beauty"
footage to add zest to your film.
If you are a follower of Izaak Wal-
ton, you have no doubt brought along
a rod as well as a camera. From here
to Tadoussac and on up the Saguenay
River country is some of the finest trout
and salmon fishing in the world. If
you are lucky, you will get a real fish-
ing sequence, to show your friends
when you get home — a proof of your
ability, not only with the camera but
with the rod and line as well.
A most important accessory for back-
woods filming is a supply of your fa-
vorite "bug juice" — citronella or some
other protection against insect bites. It
is a bit difficult to swat a mosquito and
to keep your camera steady, all at the
same time!
By all means, reserve a weekend for
a cruise up the Saguenay. Where it
joins the St. Lawrence Seaway stands
Tadoussac, one of the earliest settle-
ments on the continent, and today it is
the summer haven of vacationists from
both sides of the border. The Sague-
nay's deep black waters and towering
cliffs have inspired awe in the breasts
of travelers ever since the days of the
early explorers, who thought it to be
the long sought passage to the Indies.
Climax of the trip is Cape Trinity and
Cape Eternity, the former marked by a
massive statue of the Blessed Virgin
part way up its side. Rising sheer from
the water to 1800 feet, the granite cliffs
dwarf our cruise ship as it skirts the
shore. They seem to be close enough to
touch; but, even if you boast a good
pitching arm, you will find, when you
try to throw a pebble, that it falls far
short.
Wherever you go in Quebec Province,
you will find your good friend, Jean
Baptiste, eager to prove his hospitality.
He will enjoy your movie making fully
as much as you. He will gladly demon-
strate his simple farm machinery, in
many cases built by himself or his par-
ents with their own hands. He will
proudly line up his large family to have
their picture taken. He may even in-
vite you in for some of that soul stir-
ring, delicious French Canadian pea
soup for which he is justly famous.
And you, with a good camera, an ex-
posure meter and the blood of the true
amateur movie maker in your veins,
will expose far more film than you had
planned — and not regret it a bit! In
fact, you will not surprise us if you de-
cide, when your holiday is over, to re-
turn again to old Quebec and to shoot
another thousand feet. You might, if
you enter the Canadian National Film
Board contest!
MOVIE MAKERS
169
16mm. MOVIES AS
COURT EVIDENCE
WILLIAM W. WILSON, ACL
THE Illinois Appellate Court for the
Second District recently handed
down an opinion which is the first deci-
sion of a higher court in Illinois on the
use of amateur movies as evidence in
court.
The case was a suit for damages for
personal injuries. The plaintiff claimed
that he was severely injured in an au-
tomobile accident, due to the careless-
ness and negligence of the defendant,
and the defendant, to controvert the se-
riousness of the injuries, offered a
16mm. moving picture in evidence. The
moving pictures showed that the plain-
tiff could perform acts which he claimed
he was unable to do, because of the in-
juries. The Appellate Court held that,
if a proper foundation was laid for the
introduction of the pictures, they could
be used as evidence, and said that the
same general rules applied to the use
of moving pictures that applied to the
use of still pictures in evidence.
It seems that the following things are
necessary to be shown before the pic-
tures can be introduced:
1. Qualification of the person taking
the pictures.
2. Type and character of camera and
that it is in first class working condi-
tion.
3. Type of film used.
4. That the photographer can see the
subject all of the time the camera is in
motion.
5. To whom the films were delivered
for development, and that they were
developed and returned to the photog-
rapher, and that the projection of the
film upon the screen is a correct por-
trayal of the conditions and objects as
the photographer saw them through the
use of the naked eye at the time they
were being photographed.
6. That there has been no cutting,
erasing or tampering with the film.
In addition, the person who is in
charge of the processing of the film
must testify that the films were devel-
oped in the usual and customary man-
ner, and that the films, when they were
used in the trial, were in the same con-
dition as they were when they were
delivered back to the photographer.
In this case, the films were viewed by
the Appellate Court on the appeal. The
court in its opinion cites several cases
from other States which have passed
upon the admissibility of moving pic-
tures, and those having access to the
reports of the other States may be in-
terested in consulting the following
cases:
Boyarsky vs Zimmerman Corpora-
tion, 240 Appellate Division 361.
(270 New York Supplement 134.)
Massachusetts Bonding Company
vs. Worthy 9 S. W. 2nd, 388.
In the present case the Court also
cites:
Wigmore on Evidence, 2nd Edition,
Section 798; and another case of
Heiman vs the Railroad Company,
21 Calif. App. 2nd, 311.
The Court in the decision states:
"That photographs may be admitted
in evidence in the trial of cases, espe-
cially personal injury suits, will hardly
be questioned. Moving pictures are but
a series of single pictures, known to
everybody. Each single picture may be
properly received in evidence, and it is
difficult to see any reason why moving
pictures may not be admitted in evi-
dence also. It is our conclusion that the
proper foundation for the admission of
the moving pictures in evidence was
proven, and the Court properly admit'
ted the same in evidence."
A cine camera on
the "night off"
[Continued from page 158]
film rehearsals. For details, call Miss
Hunt at La Martinique. Iceland (the
restaurant, not the country of Reykja-
vik) and La Conga both give the "green
light" to amateur movies of their shows.
A quick side trip along famed "Swing
Alley," 52nd Street, brings us to a high-
ly popular pumphouse for native and
visiting firemen alike — Leon & Eddie's.
The humor is broad and the show al-
ways successful. Here, too, you may film
and reload your camera to your heart's
content.
The Beachcomber, in the Times Square
area, fears that perhaps the publication
of this article will bring a locust like
swarm of movie makers and, conse-
quently, will permit filming in its tropi-
cal atmosphere only on Tuesdays. An-
other spot near by which looks favor*
ably on movie making is Jack Dempsey's
Restaurant, and, unless he succeeds in
enlisting in the armed forces, the Mauler
himself will greet you at the door.
Swinging back momentarily to the
hotels, we find the Taft Grill eager to
cater to aficionados of the whirring
shutter, but with some restrictions. That
is, the coast is clear to film Vincent
Lopez's orchestra there only on Monday
evenings at dinner, from 8:30. and at
weekday lunches from 2:00 o'clock on.
The Blue Room of the Hotel Lincoln
and the Edison's Green Room will let
you take movies at all times.
Then, to the exquisite delight of many
readers, the great news is that you may
bring your camera to film Benny Good-
man and the accompanying ice show in
the Hotel New Yorker's Terrace Room.
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APRIL 1942
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This version of the stage show on ice is
very popular; add the still acknowledged
"King of Swing," and the result is
a fabulous evening's show and plenty of
cine material.
Finally, a dip southward brings us to
Greenwich Village and the famed night
spot, Cafe Society. This mecca for lovers
of the contemporary 3 B's (boogie woo-
gie, barrelhouse and the blues) looks
favorably upon customers with movie
cameras in both this and its uptown site
on 58th Street. As your foot keeps time
to the songs of Hazel Scott and the re-
nowned Golden Gate Quartet, you will
long for a small portable direct sound
recording unit. Jimmy Kelly's, in the
Village, a very popular late spot, also
permits movie making.
A number of "hot spots" look with
varying degrees of disfavor on the movie
camera. Billy Rose, the Mighty Mite of
the entertainment world, although he
cooperated gladly in letting people film
his Aquacade at the World's Fair, re-
gretfully but firmly turns "thumbs
down" on movies in his Diamond Horse-
shoe. The elder generation cannot pick
a better spot in which to relive the Nos-
talgic Nineties, but they must not try to
capture any of it on film. Likewise, the
18 Club, presided over by the irrepres-
sible Jack White, says "no" to movie
makers, on the grounds that visiting
celebrities don't mind being made fun
of (the theme of the 18 Club), but they
are dead set against anybody having
such evidence preserved on a strip of
cellulose acetate.
Some other "night spots," the Copaca-
bana. Hurricane, Havana-Madrid, shake
a collective head on movies for fear of
distressing their customers, while the
fabled Rainbow Room and Grill have
their own photographers, and movies
there are verboten. However, you are at
liberty to film the superb view from the
windows of this eyrie.
This listing leads up to a general dis-
cussion of etiquette in taking movies in
night clubs. The single best rule to fol-
low is to be considerate of others. The
do's and don'ts may seem obvious, but
observance of them may easily prevent
an unpleasant episode. It is a good plan
to be perfectly in the open about bring-
ing your camera into one of the clubs
which have given their consent. A word
to the head waiter may even bring you
a ringside table.
Once seated, it is the urgent request
of all managements that you remain
seated when you film. Don't, under any
circumstances, try for an interesting
camera viewpoint by standing on your
chair! You can expect no special con-
sideration simply because you want to
take movies. Of course, it should be ob-
vious that no bulky equipment should be
brought along; leave your flood lights
at home and forget, just this once, the
ACL's insistence on a tripod. We'll un-
derstand; after all, you can rest your
camera on the table.
The squawk about shooting the other
customers is perfectly legitimate too;
don't ask the waiter if that's the famous
Tommy Asbestos across the floor, be-
cause, if it is, you will want to film him.
Very likely, Mr. Asbestos doesn't want
to be filmed, and the management doesn't
want to inconvenience him. Mr. Z, seen
at a ringside table with a companion
other than Mrs. Z, might well make
things difficult if he saw somebody aim-
ing a camera in his direction. There are
several recourses open to anybody who
doesn't want his image imperishably re-
corded on your film, and they are all
unpleasant. Hence, leave the customers
alone and concentrate on filming the
band and floor show.
Technically, you will be agreeably sur-
prised at what a lot you can get under
difficult light conditions, even with Ko-
dachrome (Type A, of course). It is
wise to take a fast lens (borrow or rent
one, if necessary), and of course you
can shoot at eight frames a second if
the light is very poor. Don't bother with
an exposure meter, for usually you can-
not get close enough to the subject for
an accurate reading, and spotlights fill
only part of the meter's field. A one inch
//1.9 lens will capture most of what you
want, and the sensitivity of Kodachrome
to the colors, even in shadows, will de-
light you.
And now, the clop clop of the milk
wagon is heard, for dawn is breaking
and so is your correspondent. What a
night it's been, but what a comfort those
movies will be in our bomb shelters!
Home town films
[Continued from page 147]
We may group the types of civic
films into three main classifications — ■
general, complete and impressionistic.
To amplify, we might consider the gen-
eral type to consist of a short summary
of the main points of interest, the chief
industries and conventional subjects,
such as schools, churches and parks.
The complete type would actually be a
further development of the general cat-
egory, in that it would give a visual
resume, in detail, of the same headings.
The third, or impressionistic, film is a
little more difficult to produce success-
fully, for its aim is to suggest the spirit
of the city through cinematics rather
than to present systematically its phys-
ical aspects. It is often possible to in-
clude material of this type, with its in-
teresting viewpoints and symbolic shots,
in the more conventional treatment.
A few scenario suggestions may more
clearly identify these divisions. In the
general script, we should probably start
with a shot or two of a map, to locate
our city clearly in its relationship to
the country and State as a whole. Se-
quences of the town's most outstanding
products and industries might then fol-
MOVIE MAKERS
171
low. At the conclusion of this material,
a title could point out that other less
known products are completely or par-
tially manufactured in our city. After
covering the industries, as the subject
perhaps most familiar to the spectator,
a title or a transition sequence could
swing the accent to the civil and home
life of the community. For an ending,
turn to sequences of the children, their
schooling and health facilities and con-
clude with the thought that these young
people will one day be the town's fu-
ture citizens.
The more complete film would show
all these divisions in more thorough
fashion, especially in that more factual
data would be included in the title
material, even to charts and graphs, to
show the city's relative importance in
the State or the nation.
In the impressionistic film, we should
use a well chosen angle shot or a short
series of shots, to symbolize the picto-
rial material in each of the sequences
in the more complete film. For ex-
ample, where the conventional film
might include a factory sequence, com-
plete with titles, followed by a scene
of a freight siding, a long shot of lines
of freight cars ready for transit and
then a view of freight trains en route,
our impressionistic film would only sug-
gest the same subjects. It might start
with a shot of the factory name, fol-
lowed by a series of three or four short
shots of the factory's product. This sec-
tion would conclude with a montage se-
quence of closeups of car wheels, puf-
fing engines and moving freight cars.
The titling of a civic film is extreme-
ly important, in that factual material
must be selected carefully. It must be
remembered that too many exact figures
are confusing and that the audience
will not remember them. It is best to
keep such figures in round numbers or
to show them in picture or symbolic
form.
The editing must be clean cut and
compact. The subject is big and com-
plicated, and excessively long scenes
will not only cause the picture to drag,
but they also will waste footage that will
be needed for other shots. Let us keep
in mind that, in our picture, we are
taking a total stranger on a tour of
our city. Some things he will find in-
teresting enough to observe at some
length: to other things he will give only
a passing glance. We can adapt our
editing to this attitude and yet at the
same time emphasize the things in our
city that we believe to be most impor-
tant.
A plan for
surgical filming
[Continued from page 162]
pital, the operator removes wedges and
folds the whole structure down on the
base, making a bundle, eight feet long
by three feet wide by two feet thick.
This unit, covered with a canvas carry-
ing case, can be transported in a sta-
tion wagon or on a trailer. The dolly
can be folded in fifteen minutes, and
the total weight is 150 pounds.
When filming, the movie maker sits
on an adjustable seat on top of the
dolly, where he can easily control the
camera. He can see exactly what he is
filming. The danger that any object
might fall and strike the patient or the
surgeon, who are directly beneath the
camera, is overcome by a large plate
glass window, through which all pic-
tures are made and which is surround-
ed by a metal flange to which a draping
sterile sheet is tied. This sheet is held
extended for two feet on either side of
the dolly, and it is cut to fit around the
window with a drawstring. It reaches
from the top of the dolly, along the un-
derside, to the floor, thus protecting the
patient from contamination.
All lights are attached to the dolly,
and they are controlled by switches of
the mercury, explosion proof type,
1. 7
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172
APRIL 1942
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Have you seen • . .
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which are mounted within the reach of
the filmer. All receptacles and plugs
are polarized, and the whole dolly is
grounded. A single main electric cable,
leading from the base of the dolly to
the nearest floor plug, does away with
the necessity of numerous wires.
When the camera is placed on the
dolly, it has an unobstructed view of
the operative field. The camera is mov-
able, and it may be set in any desired
position. Its field of vision may be ad-
justed by the use of different lenses;
the wide angle lens includes the whole
table and the surgeons, the four inch
lens includes a field of approximately
eight by ten inches.
In using Kodachrome Type A film,
one must take great care to secure
proper lighting. I have found that near-
ly all the standard operating room
lights give an improper color rendition
with this film. We have settled upon the
following combination, which gives uni-
formly good results.
For illuminating a large field, we use
four No. 2 flood bulbs in Kodaflectors ;
for closeups in deep abdominal or
thoracic cavities, we use one or two
Castle No. 40 Super Standard Spot-
lights. This set of lights is used in vari-
ous combinations, as conditions de-
mand. The Castle lights have the same
color correction as do flood bulbs. All
daylight must be excluded from the
room, if we are to prevent the distres-
sing bluish tinge which daylight gives
to Kodachrome Type A. Middlesex Gen-
eral Hospital, where the majority of
our work is done, has fitted its three
operating rooms with lighttight shades.
In other hospitals, we cover all win-
dows carefully.
As focus is so important, we use a
camera that is equipped with a reflex
finder direct view image magnifier
(Cine-Kodak Special). This device en-
ables us to look through the lens that
we want to use, with that lens in film-
ing position; thus, we are assured of
the correct field of vision and accurate
focusing.
In filming operations, it is unwise to
estimate exposure by using charts based
upon the number of lights and their
distances from the subject. Too many
variable factors are present. The
amount of light that is obtained from a
theoretically standard voltage line will
be found to vary enough to ruin impor-
tant pictures. The reflecting power of
the subject being filmed also varies.
The reading taken before the operation
starts will be entirely different from
that obtained from structures deep in
the abdominal cavity. Accordingly, we
use a good exposure meter and make
frequent readings, the meter being held
by an assistant in sterile gown and
gloves.
We have, under construction, at our
laboratory, an exposure control which
will be automatic and which will be at-
tached directly to the camera. When it
is in use, this control will give the cor-
rect exposure and will set the camera.
In filming minor surgical procedures
and most office treatments, we do not
use the dolly, but simply set the camera
on an ordinary tripod with a non skid
triangle base. Our lights then are ar-
ranged on a single stand with adjust-
able arm brackets.
To those wishing to make surgical
movies who may not have available
such extensive equipment as we use, I
suggest an arrangement of four flood
bulbs in Kodaflectors, mounted on a
single heavy tripod, the heavier the bet-
ter.
These lights should be adjusted be-
fore the operation starts. I should ad-
vise against attempting to move a set
of lamps which is standing on the floor
during the operation. The camera can
be placed on a stepladder if nothing
better is available, but it should not be
placed behind the surgeon. The welfare
of the patient is of much greater im-
portance than any picture that you
could make. Place the stepladder be-
hind the anesthetist and shoot over her
head.
Check your exposure whenever there
is a change of reflecting surface, as in-
dicated. Exclude all daylight if you are
using color film.
Above all, don't jeopardize the pa-
tient's life, by interfering in any way
with the operating crew.
The clinic
[Continued from page 161]
the particular camera to be used. A hole
should be bored to allow the tripod
screw to reach the camera, and an open-
ing may be needed to allow one to grip
the wheel that turns the tripod screw.
If more than one camera is to be used
on one tripod, separate adapters may
be made, since the adapters need not be
fastened to the tripod top and hence
are easily removable.
Paraffin title stunt For a title
that is sym-
bolic of the coming of spring, here is
a "stunt" that involved nothing more
than a small amount of ordinary paraf-
fin. Title letters may be cut out of, or
may be formed from, household paraf-
fin. Hold the letters against a slightly
warm piece of glass until they stick.
In this system, the white letters rep-
resent snow or ice. The glass holding
the letters is fastened upright in filming
position; after sufficient film has been
exposed, a hot plate or other type of
heating element is brought into posi-
tion beneath the lower edge of the glass.
This heated object will cause the letters
to melt and to run down, leaving clear
glass, which would reveal a still picture
of spring or summer that had been put
in position before the camera was start-
MOVIE MAKERS
173
ed. Since it may take a few moments for
the paraffin to melt and run, it is ad-
visable to operate the camera at half
speed, to increase the rate of action and
also to avoid using too much film. If
you have not tried this "stunt" before,
you might rehearse it first without shoot-
ing it.
Synchronizing sound and scene
We are always glad when an article in
this magazine stirs up discussion among
our readers, and we only regret that we
do not have space to publish all the de-
bates and ideas that are brought forth.
A letter from W. W. Vincent, jr., ACL,
however, inspired by the article, Special
Projection Aids, in February, 1942,
Movie Makers, is so complete that we
reproduce it herewith.
Mr. Vincent begins, "It seems to me
that we often go out of our way to make
a thing complicated and hard to do. I
have synchronized music successfully
from a record with a projector, by using
a device which was made with paper
and scissors in twenty minutes. These
are the steps that I follow:
1. Most turntables run, or should run,
at a speed of 80 R.P.M.
2. Therefore, the turntable turns
1 1/3 times a second.
3. 1 1/3 is to 16 as 1 is to 12.
4. Therefore, the stroboscopic disc
should have 12 dark segments, evenly
spaced. I made such a disc.
5. I placed it on the turntable and
turned out all the lights in the room
except the projector lamp. The inter-
mittent light from the projector gate,
reflecting back from the screen, walls
and so forth, should make the segments
appear to stand still when the turntable
and projector are synchronized.
"I went through the foregoing pro-
cedure and was extremely puzzled for
a moment when it did not work. Then
the reason dawned on me. My projector
is a Bell & Howell, and the shutter
opens three times for each frame. With
this fact in mind, I multiplied the num-
ber of segments by three, which gave
me thirty six segments, and the scheme
worked like a charm. It has the advan-
tage of enabling you absolutely to syn-
chronize the two machines, regardless of
the speed of the turntable.
"For example, I have found that, when
you are cutting a record, it turns more
slowly than when you are playing it
back; yet, by this system, I am able to
synchronize the two machines in either
case, and slight differences in speed do
not matter.
"While you may make but one strobo-
scopic disc and place it over each record
as you use it, a better plan is to glue a
separate disc to each record. These discs
can be made quickly in several different
ways.
1. Get a commercial printer to print
a quantity.
2. Mark out one disc and. instead of
making segments, punch holes in it
with a paper punch. Use this disc as
a pattern to mark out others and punch
holes in the duplicates. The black sur-
face of the record which shows through
the holes in the white paper serves as
well as segments and leaves the center
clear, to accommodate any written iden-
tification of the record.
3. Make a disc and then photograph
it with a still camera. From the nega-
tive, you can make prints whenever
they are needed.
"I use the second method myself.
"The only drawbacks to this whole
scheme are:
1. All lights must be off except that
of the projector, which must be operat-
ing.
2. It is difficult to see the discs until
your eyes get used to the dim light. But.
by placing the turntables ahead of the
projector so that the beam of light
passes over them, you will have suffi-
cient illumination.
"I have also tried a variation of this
idea, by using two sets of holes or seg-
ments on one card, one set of thirty five
and one of thirty seven. When the pro-
jector is synchronized with the record,
the holes appear to go slowly in oppo-
site directions. Any change in projector
speed will make them appear to go in
the same direction. I have not made up
my mind which method is the better,
but I have a hunch that the moving
holes are easier to see in a dim light
than are those that are stationary."
Lettering for
your titles
[Continued from page 153]
spacing of the letters in example B has
been adjusted to suit the proportions of
the characters. You will see that less
space has been allowed for the I, where-
as more space has been allowed between
the M and the 0.
Practice lettering several words and
see for yourself. You will soon get the .
"feel" of a well composed, well spaced
word. Watch the spacing between words,
the relation of complete lines to each
other and. finally, the relation of lines
to the whole space. Leave enough space
between each word to make reading
easy — not too much, or the reader
will tire his eyes, by jumping from one
word to the other, nor too close lest
the words run into each other. Always
leave enough free space around your
title lettering on which the eye can rest.
Now to start work on the title. Make
several rough sketches, like those shown
at the right on page 153.
We shall decide upon sketch 3 as the
layout for the title. It contains the best
elements of spacing and design. Follow-
ing your rough sketch, rule guidelines
with your pencil, for the height of your
4 GREAT HITS
by Hal Roach
• THERE GOES MY HEART
Fredric March, Virginia Bruce.
Extra! Dashing reporter clashes
with headstrong heiress! Does he
get his story? Does she hold on
to her heart?
JL- TOPPER TAKES A TRIP
Constance Bennett, Roland
Young. A beautiful "ectoplasma-
girl" leads Topper a merry
chase! Laughs! Unusual camera
tricks.
• ZENOBIA (An Elephant Never
Forgets) (available May 1,
1942)
Oliver Hardy, Harry Langdon,
Billie Burke, Alice Brady, Hall
Johnson Choir. Gay! Original!
Hilarious ! Has Zenobia a pho-
bia?
• CAPTAIN FURY (available June
1, 1942)
Brian Aherne, Victor McLaglen.
Australia's Robin Hood rides
again — fighting for freedom, in
this thrilling adventure tale. Ac-
tion!
All feature length — in 16mm.
Sound. New 1942 Catalogue
sent on request. Write today!
POST PICTURES CORP.
723 Seventh Ave., Dept. 13, New York
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Foto
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MANSFIELD Photo Research Labs.
Dept. MM4 701 S. La Salle Chicago, III.
Disf
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TITLES
and
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EDITING
For the Amateur and Professional
16 mm. — 8 mm.
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Write for
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STAHL EDITING &
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TITLING SERVICE
New York, N. Y.
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SPOT FILM
PRODUCTIONS, INC.
339 EAST 48 STREET N. Y. C.
174
APRIL 1942
^Good, Value Offerings^
from RABSONS
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VICTOR 3, f:2.9, good 44. 50
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KEYSTONE A-7, f:2.7, excellent...
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CINE PERFEX DOUBLE-8, f:2.5,
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DEVRY 35mm. STANDARD, f:3.5,
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Guaranteed 90 days. Sold on 10-day, free-
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Trades accepted. Tell us what you want to
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line of recognized cameras, projectors and
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Shop us first before buying.
77. 50
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RABSONS, INC.
the "-personal attention" store
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WESTERN MOVIE SUPPLY CO.
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8RITELITC-TRUVISI0N
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screens, spotlights, reflectors, paper safes, etc.
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TELITEl MOTION PICTURE SCREEN
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-NEW in 16mm SOUND:
BING CROSBY in
"DREAM HOUSE" and "BILLBOARD GIRL"
Two reels each. Songs in the Crosby manner.
ANDY CLYDE and HARRY GRIBBON
In seven of their riotous two reelers.
EDWARD EVERETT HORTON
Six of this comedicn's best two reelers
FOUR ONE REEL CAMEO SLAPSTICK
COMEDIES
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Two reel subjects $40. One reel subjects $20
ASTOR PICTURES CORP.
130 W. 46th St.
New York, N. Y.
lettering. Next, mark off the spacing for
the width of each line. Then, still with
your pencil, "rough in" the lettering,
watching carefully the various charac-
ters of the letters themselves and of the
spacing which they create. If you are
not satisfied the first time, try again.
You can easily erase the pencil lines
with a gum eraser. When you have pen-
ciled in the letters as you want them,
you are ready for the inking. Using a
square end lettering pen, you can easily
approximate the character of Lydian
with one stroke. When your lettering
has completely dried, erase the pencil
lines, and you are finished.
If you use one of the small titlers,
it is best to letter your titles in large
size and to reduce them by means of
photography or photostats, to fit your
titler. This process will help to hide
imperfections in the letters.
The result will be a title well com-
posed and easily read. A title is as indi-
vidual as your handwriting and as per-
sonal as your prized movie shots.
Easter at home
[Continued from page 155]
Title. And so the day passes . . .
38. Medium shot. Mother is seated
on the couch between the boys, reading
a bedtime story.
39. Closeup. Empty baskets are at
the boys' sides.
40. Closeup. The younger lad hugs
a bunny as he listens to the story.
41. Closeup. The book that Mother is
reading.
42. Semi closeup. The older boy
nudges his brother, saying:
Title. "Wake up! Donald Duck is
catching up to Peter Rabbit!"
43. Closeup. The younger boy grad-
ually opens his eyes as his brother's
hand shakes him. He speaks, saying:
Title. "Who cares!"
44. Semi closeup. Mother ends the
story. She puts the book down on a
table and puts her arm around the chil-
dren, saying:
Title. "And so to bed . . ."
45. Closeup. The older boy stretches.
46. Medium shot. The children go
slowly up the stairs to bed.
47. Closeup. The older boy in bed,
fast asleep.
48. Closeup. The younger boy in bed,
also fast asleep, is holding his Easter
bunny close to him. Fade out.
This script can be adapted to fit your
family. A girl can be substituted for
one of the boys. And, if Grandmother
is visiting, by all means include her in
as many scenes as possible. If you are
pressed for time, shoot the church
scenes on Easter Sunday. The sequences
in the home can be staged later.
STATEMENT FROM
DIRECTOR OF CENSORSHIP
AMATEUR photographers were re-
minded recently by Byron Price,
Director of Censorship, that they have
an important part in keeping vital in-
formation from the enemy.
"The Government has no intention of
discouraging picture taking," Mr. Price
said, "but there are many good photo-
graphic subjects besides fortifications,
airports, troop transports and equip-
ment of the armed forces.
"Even the private circulation of many
such pictures domestically can do harm,
and of course no military pictures can
be permitted to leave the country un-
less they have been made under Gov-
ernment supervision. When a photo-
graph or a film is stopped by censors at
the border it is wasted, and in these
days, especially, waste is unwise.
"Camera clubs have expressed a de-
sire to cooperate in avoiding the taking
of photographs of a military nature.
Their patriotic understanding is highly
commendable.
"Detailed information about the han-
dling of all types of films by interna-
tional mail, freight, or express is being
prepared and will be made public soon.
"The Office of Censorship has re-
ceived many inquiries as to why news-
papers, magazines and newsreels pre-
sent pictures of such scenes as army
camps, warships and plants where war
supplies are being made.
"I believe there is little real cause
for apprehension. These pictures nor-
mally have been approved in advance
by the Government for publication in
order to show the American people
what the armed services are doing and
what American factories are producing.
They have been closely inspected to
make certain that they contain no de-
tails which the enemy might like to see.
Editors voluntarily are making a care-
ful check on the photographs they use.
"It must be remembered also that
until the Japanese attack on Pearl Har-
bor last December 7. there were no lim-
itations on the mailing of pictures to
foreign countries. It would be futile to
ask American editors not to print pho-
tographs which could have been taken
before that time, for the enemy unques-
tionably has the information."
BETTER TAKE MORE
We often see travel films in which
are two shots of New York, one of
Chicago, one of Denver and then sud-
denly one of California. These flashes
make poor continuity. Make at least
six or seven well chosen shots at each
place that you film and, if possible,
get a few transition shots of trains or
cars, to bridge the gaps of geography
and time.
MOVIE MAKERS
175
Practical films
[Continued from page 163]
theatrical distribution in both Amer-
icas, while the Office of Inter-American
Affairs takes care of the non theatrical
circulation in South America.
"Here is Tomorrow"
Under this title, the first sound film
about the consumer cooperatives of
America had its premier showing in
Washington, D. C, on January 6. This
record film tells how two million citi-
zens have gone into business for them-
selves and have solved their economic
problems without government or other
outside aid. Ordinary consumers have
built their own stores, service stations,
farm supply depots, warehouses, insur-
ance companies, hatcheries, factories,
refineries and oil wells. The Coopera-
tive League of the USA sponsored the
movie, produced by Herbert Kerkow
and Willard Van Dyke of Documentary
Film Productions. Roger Barlow was
chief cameraman, David Forrest was
script writer and Irving Lerner was
film editor.
News From Bailey
A new bulletin of films for national
defense is announced for free distribu-
tion by Bailey Film Service of Holly-
wood, Calif. These movies show how
government, industry and the private
citizen cooperate in the advancement
of America. The sixteen films are
grouped under four heads: Govern-
ment and Leaders, Industry and Pro-
duction, Planes and Ships and John
Doe, Citizen.
Bailey also reports that it is now of-
fering for purchase or rental by edu-
cational groups a Kodachrome film of
modern Russia, stressing the many dif-
ferences between Czarist Russia and the
U.S.S.R. of today.
Painless Geometry
Made for Dr. Frederic Thrasher's
cinema course at New York University
is Community Patterns of Geometry, a
300 foot color film, pointing out the
many geometric shapes that are found
in our everyday life. The geometry
class of the Darien (Conn.) Senior
High School presented the movie, su-
pervised by Arthur S. Bibbins. In a
simple and clear cut manner, the movie
first shows a closeup of a geometric
shape, followed by an example of its
Defense Housing
The erection of 977 houses in the in-
credibly short time of sixty five days is
the subject of the 2200 foot sound film,
A City Rises Overnight, made by the
Photo Art Company, of Trenton, N. J.,
for The Homasote Corporation of the
same city. The Mare Island shipyards,
near Vallejo, Calif., were awarded
large government contracts, and there
arose an immediate need for greatly in-
creased housing facilities. Here, the
Homasote Corporation moved in with
its scheme for "precision built houses,"
prefabricated by an assembly line tech-
nique. The incredible day by day prog-
ress of these houses is fascinating to
watch. Bill North did the camera work
and the Film & Sound Company, of
San Francisco, made the sound track.
Vaux Wilson, vicepresident and treas-
urer of Homasote Corporation, wrote
the script, while John E. Kahle, jr., of
the same company, edited the film. Mr.
Kahle is also handling the distribution
of the movie.
Amateur clubs
[Continued from page 159]
Morris Baker, ACL; Western Interlude,
by Arthur Elliott, ACL. All films were
presented with narrative and music on
the double turntable.
In Milwaukee Feature attraction
at a late meeting
of the Amateur Movie Society of Mil-
waukee was the screening of Linda, Ten
Best award winning family film in 1941,
produced by Richard Fuller, ACL, of
that city. The club had Mr. and Mrs.
Fuller as its guests at the meeting.
Other items on A. M.S. programs have
included Title Making the Victor Way,
a discussion by Elmer Mohaupt; Lap
Dissolves with the Magazine 8, by Joe
Friedman; Making a Wide Angle
Viewer, by Elmer Klug; What the
Future holds for the Amateur Movie
Maker, by Carl Forbes. New officers for
1942 have been announced as follows:
Eugene H. Millmann, ACL, president;
Don Schaber, first vicepresident; Mr.
Klug, second vicepresident; Mrs. Wil-
liam Rheingans, secretary; Robert E.
Lees, treasurer.
Brooklyn show The Brooklyn
Amateur Cine
Club, ACL, with headquarters at the
Hotel Bossert, announces its annual
screening of outstanding amateur films,
to be held in the St. Felix Theatre, on
April 10. Tickets may be obtained from
Martin Sternberg, 159 Tompkins Ave-
nue, Brooklyn, N. Y., at fifty five cents
each, including tax. There will be no
standing room allowed.
San Francisco set Meeting in
their now per-
manent headquarters in the Women's
City Club, members of the Cinema
Club of San Francisco gathered recent-
ly for an interesting and varied pro-
gram of film fare. Campfire Girls, a
16mm. Kodachrome sound on film pro-
duction by F. W. Macondray. was fea-
tured on the club's screen, followed by
Now You Can Take
Such Swell Pictures!
Now at last you can get make-up specially
developed for your black-and-white photogra-
phy. Subdue bad features, achieve flattering
movie-quality pictures and save retouching!
Hampden's Photographic Make-up is a com-
plete easy-to-use kit for all your make-up
needs. It comes in the new stick form with
full instructions on how to use!
Creamy • non-greasy • blends perfectly •
easy to remove • conceals minor defects •
gives the skin a beautiful, smooth, satiny finish.
Save time, trouble, wasted film and have
more beautiful, natural-looking pictures. Get
your kit at any photographic store or from
Hampden Sales, 251 Fifth Ave., New York.
WnteforFREE / P0 W D X" B fl S E
Illustrated Booklet
PHOTOGRAPHIC MAKE-UP
(£S) KODACHROME (££)
Moose, 125 ft., copy, $18.75; 145 ft., $21.75.
"Canadian Kockies," 400 ft., copy. $60.00.
"Yosemite." 100 ft., copy. $15; 200 ft.. $30.
"The Blooming- Desert," 100 ft., copy. $15; 200 ft., $30.
Original Kodachrome is available in most subjects (except
Moose), @18e ft., any footage.
GUY D. HASELTON
7936 Santa Monica Blvd.
Hollywood. Calif.
FOR. SUCCESS IN
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Profit by 32 Years of Experience
Men and Women — learn quickly at America's
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part photography plays in wartime. Resident or
home study. Free booklet. N. Y. Institute of
Photography. Dept. 105, 10 W. 33 St., New York.
~"» "■ » Hi ~i*i~Mi f
WHEN?
\
NOW-
NOW more than ever be-
fore, the need for saving
and safety is of vital
importance. NOW is
the time to protect
your irreplaceable
films against climate,
scratches, oil, water
and fingermarks. Your
dealer has always had
this vital service avail-
able for you . . . you
are urged to use it for saving
and safety . . . NOW!
VAP.fJ^RATE
COLOR FILMS
NEED
VAPORATE
deep seated chem-
ical protection that
surface lacquers and
lubricants cannot
provide.
Better photo finishers offer VapOrate
protection for still negatives.
VAPORATE CO., INC.
130 W. 46th St.
New York City
BELL & HOWELL CO.
1801 Larchmont, Chicago
716 No. LaBrea, Hollywood
176
APRIL 1942
Virginia City Excursion and Snow Bun-
nies, by Lawrence J. Duggan, ACL, and
Livermore Rodeo, by A. H. Kleyn. At
an earlier meeting, the Cinema Club
members saw the four award winning
films in the recent annual contest of
the neighboring Westwood Movie Club,
headed by Henry Swanson's comedy.
Wedded Blisters.
Trenton sees H. P. M. winner
Gathering in the city's Hotel Hilde-
breoht for their Sixth Annual Dinner,
members and guests of the Trenton
Movie Makers saw, as the feature at-
traction on a gala program, Hail, Brit-
ish Columbia!, Maxim Award winner
in 1941. Leo J. Heffernan, ACL, the
producer, and Mrs. Heffernan were
guests of honor of the club. Rounding
out the program, all of which was pre-
sented with musical accompaniment,
were two members' films — In The
Springtime, by R. James Foster, ACL,
and Sun and Fun, by Charles R. Dob-
bins, ACL. Committee chairmen for the
dinner included George W. Guthrie,
ACL, reception and printing; Stephen
C. Kovacs, program and decorations;
Harold E. Cranmer, tickets and finance;
Dean H. Ashton, ACL, publicity; Mr.
Foster, arrangements; Roger R. Bell,
prizes; J. George Cole, ACL, entertain-
ment; Jules Y. Shein, ACL, ex officio.
Dr. L. Samuel Sica presided.
Pittsburgh paper Screen Reflec-
tions, a club
news bulletin, and new officers for 1942
have been announced recently by th<?
Pittsburgh Amateur Cinema Club, ACL.
according to Mrs. Hilda Evans, corres-
ponding secretary. Members of the
board are E. M. Cavitt, president;
Barney Rogan, vicepresident; Rose
Goldman, secretary treasurer, and Mrs.
Evans. Recent meeting activities of this
Pittsburgh group have included a cine
quiz, a discussion by Ross M. Gridley,
ACL, Picture Composition for the Ama-
teur, illustrated with colored slides, and
a club bowling party.
News of the industry
[Continued from page 164]
usual demand has made this new ver-
sion necessary. This booklet offers an
easy method of locating a film dealing
with any particular subject, and it is
valuable to individuals, institutions,
government departments and similar
users of silent and sound pictures. It
may be obtained from the Victor
Animatograph Corporation, Davenport,
Iowa, at fifty cents a copy.
Castle war film Claimed to be the
first 8mm. and
16mm. movies which show Americans
in actual battle action against the Japa-
nese, a timely new film, U. S. Navy-
Blasts Marshall Islands!, is currently
released by Castle Films, Inc., 30
Rockefeller Plaza, New York City. This
exciting subject shows real war action
and will be eagerly sought because of
its presentation of the kind of retalia-
tion shown in offense. Preparations for
the assault on the Marshall Islands are
shown as the fleet sails toward this bat-
tle in the Pacific. An enemy cruiser and
aircraft carrier are seen being hit and
sinking in breath taking shots of aerial
combat. This exciting film is available
in 8mm. silent and 16mm. silent and
sound in regular Castle lengths and
prices.
DllPont moves According to a no-
tice recently re-
ceived, it is announced that the execu-
tive and sales offices of the photo-
graphic branch of the DuPont com-
pany are to be located in Wilmington,
Del. All communications may be ad-
dressed, therefore, to E. I. DuPont de
Nemours & Company, Photo Products
Department, in Wilmington.
Mansfield trial offer The Mans
field Photo-
tints, well known for tinting black and
white movie films and 35mm. slides, are
now available in a special introductory
trial size. This kit includes six trial cap-
sules in blue, brown, green, purple, red
and yellow, and it may be had for
twenty five cents from Mansfield Photo
Research Laboratory, 701 South La
Salle Street, Chicago.
Flektrol Polaroid filters Anew
and high-
ly efficient type of polarizing filter has
been made available by the Pio-
neer Scientific Corporation, Empire State
Building, New York City. These filters
are made of Polaroid and will be avail-
able in three types. The first, or Type
H-A. offers the highest photographic
and polarization quality that it is pos-
sible to obtain. The medium is free
from color distortion and is mounted
between precision glass surfaces for the
finest results. The Type H-B filters are
identical with Type H-A except that
the ultimate standard of precision in
grinding the glass surface is not main-
tained. The Type J filters are for use
with black and white films only. The
new Flektrol filters are available in
many different sizes and in mounts for
use on movie and still cameras.
Agfa work prints A new item of
laboratory ser-
vice, which will be of great value to
the increasing need for efficiency in
editing procedure, is offered by the New
York City laboratory of Agfa Ansco,
245 West 55th Street. The new service
will be known as "Work Print" and
will consist of reversal duplicates made
-_
Teitel's Toning Capsules will
tone any black and white film
from 16mm. reversal black and white
or color originals. This work print is
then used for editing, at the conclu-
sion of which the original film may be
cut to match. Because picture projec-
tion quality is not paramount on work
prints, the emulsion used is other than
regular duplicating stock. The work
print is identified by a thin, diagonal
hairline across each frame. The cost is
$2.50 a hundred feet, including excise
tax.
Regular duplicates are made in this
laboratory with a separate light control
for each scene, to get best results. This
light control is effected automatically
by a notch in the edge of the film at
the beginning of each scene. These
notches do not interfere with projec-
tion; but, for those who wish to have
duplicates of their originals without
notching, there is a "One Light Dupli-
cate" service available. The cost is $3.48
a hundred feet, including excise tax.
Commonwealth rents Because
of the re-
ceipt of so many requests from home
movie showers, schools, dealers and
other film users, a new sound on film
rental library has been installed by
Commonwealth Pictures, 729 Seventh
Avenue, New York City. Heretofore,
the film subjects featured by this firm
were for outright sale only. The new
rental library includes many entertain-
ment, educational and religious sub-
jects. Commonwealth's first library cata-
log has just been issued and will be
sent on request.
AutopOSitive A new enlarging pa-
per, which operates
on the same principle as does reversal
film, has been made available by the
Eastman Kodak Company, Rochester,
N. Y. It is offered for making direct
positives, by enlargement or by contact
printing, from still Kodachrome or
black and white positive transparencies.
Thus, it may be used to obtain direct
black and white prints from movie
frame originals, if desired. Kodak Auto-
positive paper can easily be processed
according to directions furnished, using
Kodak chemicals. A package of one
dozen sheets in the five by seven inch
size sells at forty two cents.
„ v , ,•'£, ...«Q Li... W ..U. &.. . U ■> .. U:, :U v ___ _._
| Cash required with order. The closing date for
the receipt of copy is the tenth of the month pre-
ceding issue. Remittance to cover goods offered
for sale in this department should be made to the
advertiser and not to Movie Makers. New classi-
fied advertisers are requested to furnish references.
| Movie Makers does not always examine the
equipment or films offered for sale in CLASSI-
FIED ADVERTISING and cannot state whether
these are new or used. Prospective purchasers
should ascertain this fact from advertisers before
buying.
10 Cents a Word
Minimum Charge $2
0 Words in capitals, except first word and name,
5 cents extra.
EQUIPMENT FOR SALE
■ BASS SAYS: We deliver the goods. New or
used equipment in abundance at prices to suit your
purse. USED CAMERAS: 8mm. Keystone, f/3.5
lens and case, $21.50; 8mm. Keystone, f/2.7 lens
and case, S25.50; 8mm. Cine-Kodak, f/3.5 lettis,
523.50; 8mm. Revere Double 8, Bausch & Lomb
f/3 lens, $34.50; 16mm. B. & H. Model 75, Cooke
//3.5 lens, S34.50; 16mm. B. & H. 70A, //3.5
Cooke, S44.50; 16mm. B. & H. Model 121. Cooke
//2.7 lens, S57.50; 16mm. B. & H. Model 121
Magazine, 1" //1.8 focusing:, S77.50; 16mm. B. &
H. 70DA, 1" r/1.8 Cooke, 20mm. //3.5 Cooke
and 3" r/4 Wollensak. case, S235.00; 16mm. B. &
H. Automaster, 1" //2 Xenon, 2" //2.8 Acura,
15mm. //2.7 wide angle, case. $272.50; 16mm.
Victor, 1" //2.7, S47.50; 16mm. Victor 3., 1"
Cooke focusing mount, 1" //1.5 Wollensak, 3"
;/4 Wollensak, turret model, S125.00; 16mm.
Simplex Magazine, Kodak f/1.9 focusing mount.
S62.50; 16mm. Cine-Kodak B, //1.9 focusing
mount, $47.50; 16mm. Cine-Kodak Magazine,
f/1.9 focusing, SS7.50; 16mm. Movikon, Sonnar
//1.4, coupled range finder, case. $295.00. RARE
CINE LENSES: 50mm. Meyer Plasmat //2.7,
focusing- C mount, S63.50: 25mm. Plasmat //1.5,
C mount, S67.50; 4$4" Meyer Trioplan //2.8,
focusing' C mount. $85.00; 50mm. Meyer Plasmat
f/1.5, focusing C mount, $87.50; 334" Cooke
f/3. 3, focusing C mount, $87.50; 6" Cooke Tele,
/74.5. focusing C mount, S92.50; 6" Meyer Tele-
Megor f/4, focusing C mount, $95.00. USED
PROJECTORS: 16mm. B. & H. 57A, 400 watt
lamp and case, S50.00; 16mm. B. & H. 57GG,
375 watt 75 volt lamp, 800 ft. capacity, case,
$68.50; 16mm. B. & H. Auditorium, 1200 watt,
1600 ft. capacity, 2" //1.6 lens and case. S2S5.00.
USED SOUND PROJECTORS: 16mm. RCA
PG-70, 750 watt, 10 watt output, $225.00; 16mm.
Victor Animatophone 33, 750 watt lamp, 10 watt
output, 1600 ft. speaker and case, $217.50. Lim-
ited number: Discontinued new model Craig Jr.
16mm. animated Editor, Splicer and Rewind, reg-
ularly $31.50; our price $23.65. Send for latest
revised complete price list of Cine Apparatus just
out. BASS CAMERA COMPANY, Dept. CC, 179
YV. Madison St., Chicago, 111.
I MODEL 22 Victor 16mm. projector, like new,
750 watt, 1600 ft. capacity, fast rewind, reverse,
stills, $125.00. R. H. HERROX, 16516 Ward
Ave., Detroit, Mich.
■ E. M. BERNDT AURICON 16mm. Sound
o'n Film Recorder, with noise reduction circuit.
List price, $695.00. Display Model, $495.00, less
microphone. If there is anything you can't obtain
elsewhere, write us. BYRON'S, Inc., 625 — 15th
St., N. W., Washington, D. C.
■ FULL LIST PRICE ALLOWED FOR YOUR
MODEL 20 Cine-Kodak on Magazine Cine-Kodak
Eight; for your Model 20 or 25 Cine-Kodak on
Perfex Magazine Eight; for your Revere //3.5
on Revere Turret; for your Model 50 Kodascope
on Revere projector; for your A8 Keystone on
Bell & Howell or Ampro projector; for your
Magazine Cine-Kodak Eight, your 8mm. Revere
or 8mm. Bell & Howell on Bolex camera. CAM-
ERAS AS NEW: Bell & Howell 70-D, bronze
finish, f/1.5 lens, S175.00; 16mm. Bolex, //1.4
Hektor lens, $275.00; Bell & Howell 70. with
attached turret, bronze finish, //1.8 Cooke, S95.00;
Smm. Bolex, f/1.9 lens, $195.00; 8mm. Bolex,
f/1.5 lens, $275.00. Telephoto lens for Model 20
or 25 Cine-Kodak, only $22.50. Write for liberal
allowances for vour present equipment. NA-
TIONAL CAMERA EXCHANGE, Established
in 1914, 11 So. Fifth St., Minneapolis, Minn.
■ SLIGHTLY used Auricon 16mm. sound film
recording camera and amplifier, new model. Com-
plete, $675.00. MARSH CINESOUND, Inc., 17
W. 60th St., New York, N. Y.
■ VICTOR 16mm. Sound on Film Projector,
good condition, $150.00. Also Simplex Magazine
loading 16mm. camera. //3.5 lens. S40.00. DORIS
WEBER. Webster, New York.
Printed by WNU. N. Y.. in the U. S. A.
I LIKE new: Filmo, spider turret, focusing 1"
13 5, 1" //1.5, 4" //4, §185. 00; Filmo 70A,
/3.5, $33.00; Victor 3, //2.9, $49.50; Filmo
ag. 121, //3.5, $45.00; f/1.5, $70.50; Mag.
ne-Kodak & case, $79.50; Stewart-Warner 16mm.,
3.5, case, $13.50; Keystone 16mm. Model A,
3.5, case, $14.50; Filmo 8 Sportster, //2.5.
1.00; Filmo 8 Turret, Windback, f/2.5, 1"
2.9, focusing model, $115.00; Revere 88, //2.5,
S38.50; Perfex Turret, //2.5, $47.50; Keystone
oj., 500 watt, //2.5, $39.50; A 81, 750 watt,
1.6, $57.50; Kodascope B Automatic, 300 watt,
& 54" lens, case, $47.50; DeVry 16mm. proj..
00 watt, case, S24.50; Kodascope C, 100 watt,
'1.50; Revere 88, 500 watt, de luxe & case.
9.50; Kodascope 8 Model 20, $19.50; 8 & 16mm.
enses; or will trade for 35mm. motion picture
equipment. CAMERA MART, 70 WEST 45th ST.,
" Y. C.
—-.» W W W W '
COMPLETE your FILE
of
MOVIE MAKERS!
AT A SPECIAL PRICE
15C
a copy
Only a limited amount
available of numbers
listed
1926: December
1927: All months
1928: All months
1929: All months
1930: All months
1931: All months
1932: All months
1933: All months
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1936: All months
1937: January
February
April
June
August to
December
1938: All months
1939: All months
1940: All months
15C
a copy
when the supply set aside for
this sale is exhausted these
numbers of MOVIE MAKERS
will be available only at
regular back number prices
of 35 and 50 cents
Include Cash With Order
MOVIE MAKERS
420 Lexington Avenue
New York, New York
■ 16MM. ZEISS Movikon, Sonnar //1.4, like
new, $275.00; 16mm. Bell X: Howell Autoload
Master, turret, //2.7 lens, like new, $159.50;
brand new 16mm. Yictor 4 with like new Kodak
//1.9 lens, S104.50; 16mm. Bell & Howell 70E
with //3.5 Cooke, excellent, S49.50; 16mm. Maga-
zine Kodak with f/1.9 lens, like new, $79.50;
AURICON SOUND ON FILM RECORDER,
like new, $625.00; Smm. Kodascope 33, 500 watt,
like new, $39.00; Smm. Revere 88 camera, //3.5
lens, like new, $29.50; 16mm. Bolex, Eastman
//1.9 lens, like new, $197.50; 8mm. Bolex, with
f/1.9 lens, like new, $199.50; 16mm. Keystone A 7
with //2.7 lens, like new, $34.50; CAMART
PROFESSIONAL TRIPOD, regularly $85.00,
equal to new, $64.50; 2" Eastman f/1.6 telephoto
lens, like new, S69.50. SALE OF FILM FROM
OCR RENTAL LIBRARY, 8mm. complete edi-
tion, S3. 75; 16mm. complete edition, $6.00; 16mm.
sound de luxe, $12.00. Most Castle, Official and
Fireside subjects available; limited quantity; con-
dition of all these films is perfect. Complete
stock of 8 and 16mm. movie cameras, projectors,
lenses and accessories. Many bargains in sound
projectors. Write for new bargain list. HABER
& FINK, INC., 12 Warren St.. New York City,
BArclay 7-1230.
| HOLMES 16mm. sound proj., type 12, me-
chanically as new, cases shop worn, $315.00. Like
new Eastman E, f/1.9 camera, $55.00. FRANK-
LIN DAVIS, Ocilla, Georgia.
■ FOR SALE: Eastman Cine Special, f/1.9 lens,
extra magazine, carrying case. Very little used.
Price $325.00. Write L. J. FRANKEL, P. O.
Box 1195, Charleston. W. Va.
FILMS FOR EXCHANGE
■ EXCHANGE: Silent pictures, SI. 00 reel.
Finest sound film programs, rent reasonable; also
sell. CINE CLASSIC LIBRARY, 1041 Jefferson
Ave., Brooklyn, N. Y.
■ SOUND, silent films exchanged, rented,
bought; 8 & 16mm.; always bargains. Get on our
list. FRANK LANE. SO Boylston, Boston, Mass.
■ 8MM. FILMS! Castle releases. 50 ft. 180 ft.
New prints. Good used prints. Sales. Exchanges.
Trade-ins. RIEDEL FILMS, Dept. MM-442, 2221
W. 67th St., Cleveland, Ohio.
FILMS FOR RENTAL OR SALE
■ MONEY maker! "The World's Greatest Pas-
sion Play.*' 16mm. and 35mm. sound or silent.
Purchase or rent everywhere. Superior to Ober-
ammergau play. Write HEMENWAY FILM CO..
33-B Melrose St., Boston, Mass.
■ 8MM-16MM. Sound and silent films, projectors
and cameras; bought, sold and exchanged. Trades
and terms accepted. Free bargain bulletin.
ZENITH, 308 W. 44th St., New York.
H BARGAINS: Used 16mm. sound films for out-
right sale. $4.00 per reel and up. MATESTIC
16MM PICTURES, 1611 Davenport. Omaha.
Nebr.
■ 16MM. SOUND— silent films. Bought, sold,
exchanged. Castle. Official latest releases in
stock. ""BETTER FILMS. 742 New Lots Ave.,
Brooklyn. X. Y.
■ 8-1 6mm. FILMS bought, sold, exchanged.
Silent-sound odd reels. $1.50. Catalog, sample
film, 10c. INTERNATIONAL, 2120 Strauss.
Brooklyn. N. Y.
■ RELIGIOUS films. Close out. SOF. Write for
list. ADYANCE MOVIE SERVICE. 568 E. N.
Broadway. Columbus. Ohio.
| CASTLE films. Smm. and 16mm. New and good
used films, bargains. MALEXA CO., 616 Market
St.. Philadelphia. Pa.
TRADING OFFERS
■ WANTED: REVOLVERS. TARGET PIS-
TOLS. SHOTGUNS. RIFLES, BINOCULARS.
We make liberal allowances for firearms and
binoculars to apply toward the purchase of 16mm.
and Smm. movie equipment, still cameras, en-
largers, and photographic equipment of all kinds.
NATIONAL CAMERA EXCHANGE, Estab-
lished, in 1914, 11 So. Fifth St., Minneapolis,
Minn.
MISCELLANEOUS
■ COMPLETE printing outfit for movie titles:
presses, type. ink. paper and supplies. Write for
details. KELSEY PRESSES. D-50. Meriden, Conn.
| EDITOLA — for double system 16mm. Sep-
arate heads for sound and picture. Shows picture
and reproduces sound. Particulars. EDITOLA.
S94 Woodland Ave., Oradell. X J,
CHANCES are you need movie equipment now, more than
ever before. Yet your dealer may not be able to deliver,
immediately, the new model you prefer.
If that's your predicament, you're fortunate if you own a
Bell & Howell Camera or Projector. For this equipment,
through a new B&H service, can undoubtedly be made to
meet your needs for a long time to come. This new equipment-
conserving service includes:
o
Modernization of older cameras and
projectors, to give them many or all
the features of current models.
,::::■:■:.::;:
A Few of Many Practical Modernizations
EARLY FILMO 16mm. PROJECTORS are far
below today's advanced standards in illuminating
power. Far below today's needs, too — for it takes
a lot of light to bring out the full beauty of color
films. But we can equip your early projector to use
modern, powerful 750-watt lamps. And the cost
will be less than you'd pay "to boot" in trading for 200W 7sow
a new machine. Pilot light and lens lock, other new features, can
be added at the same time, if you wish.
FILMO 8mm. PROJECTORS of 200-foot
film capacity can be converted to 400-foot
capacity, to permit uninterrupted per-
formances of more than a half-hour.
EARLY FILMOSOUNDS with 500-watt lamp can be equipped
to use 750-watt lamps. Remote volume control, "still" picture
clutch, latest high-fidelity amplifier, reverse, and improved clutch
control are among other modern features which can be added.
FILMO 16mm. CAMERAS of the
single-lens types — 70, 141, or
Auto Load — can be given a three-
lens turret head for instant lens in-
terchange, plus a viewfinder which
permits quick matching of finder
to lens. Filmo 70 Cameras can also be fitted with hand crank, re-
wind knob, mask slot device, single-frame exposure control, and
other advanced features of professional studio cameras.
FILMO 8mm. CAMERAS, too, can be given
certain professional features, including a re-
winding attachment for lap dissolves and
double exposures, and a quick-shift zoom at-
tachment (for Turret 8) . If you prefer a different
speed range, that can be altered, too.
For details and prices on these and many other
modernizations, see your Filmo dealer or send the
coupon for " Modernization Folders"; there's one
each on 16mm. cameras, 16mm. silent projectors,
Filmosounds, and 8mm. equipment.
An economical inspection, maintenance,
and service program, to keep your equip-
ment in excellent operating condition.
Biiiiiiiiiiiiiiisiiiiiiiiiiiiiiuiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii^
Economical, New Way
To Make Your Filmo Last
To help Filmo owners keep their cameras and projectors |
in fine condition during the time when replacement §
would be difficult, we have established economical, |
standard charges for each of three classes of service on |
each camera and projector model. Use this money- |
saving way to keep your Filmo at the peak of condition. |
Remember, "no Filmo has ever worn out!" Ask your |
Filmo dealer for the details, or send the coupon.
:, :;iiii ,;iii:i ;iii;:ii: :iii; ::;ii: :!i:::i!i!::i:;::::;i!!^;iiii':iiii::;iiiir:iiii;;iii!:iiiii;;[iiiiir:l
FILMOSOUND UTILITY
A superb, 16mm. sound-film projector, ideal for presenting modern
"talkies" in your home, and with ample capacity to serve in your club,
church, or school. Readily portable. Shows silent films, too.
BELL & HOWELL
COMPANY
Chicago; New York;
Hollywood; Washington, D. C;
London
Established 1907
PRECISION-
MADE BY
we/l£dfawe$
BELL & HOWELL COMPANY
1843 Larchmont Ave., Chicago, 111.
Please send folder detailing and pricing mod-
ernizations of: ( ) 16mm. cameras; ( ) 16mm.
silent projectors; ( ) Filmosounds; ( ) 8mm.
cameras and projectors.
Send details on standard-price servicing of
( ) Send details on Filmosound Utility.
City State.
Magazine of the Amateur Cinema League, Inc.
« W lut io film in New Brunswick"
vacation lands.
IDE fflflDf fl RED CROSS PICTURE
» Advice on finning for your Red
Ctonn local chapter.
EVERY NEW MEMBER GETS*"
The ACL Movie Booh
i
T'S the latest book on amateur movie making! . . . It's the
biggest book about the subject written in the past decade!
311 PAGES— OVER 100 ILLUSTRATIONS-FRAME
ENLARGEMENTS— PHOTOGRAPHS— DRAWINGS I
INTERESTING — NEW IDEAS — SIMPLY WRIT-
TEN— ACCURATE— COMPLETE— FULL INDEX.
Written by the staff of the Amateur Cinema League — com-
piled from their experiences in serving thousands of movie
makers for over a decade, this book represents the latest
and simplest cine technique. It is based on what amateurs
do. It tells you what you want to know because it comes
from the needs and questions of over 21,000 League mem
bers — every one a real movie maker.
The new book is packed with information and it
is simply written in an informal style. You will
find it fascinating, and you may be sure that the
information is correct — IT'S AN ACL PUBLICA-
TION.
GET THIS NEW BOOK IN ADDITION TO THE
SERVICES AND PUBLICATIONS LISTED BELOW
ALL FOR $5.00 A YEAR
if MOVIE MAKERS . . . Membership includes a sub-
scription to Movie Makers monthly, which covers
every phase of amateur and practical filming.
Each month there are articles for the beginner as
well as for the experienced movie maker.
if Technical consulting service. . . Any League mem-
ber can put his movie making problems up to the
technical consultant, and he will receive prompt,
detailed service.
if Continuity and film planning service . . . The con-
tinuity consultant will aid you in planning specific
films by offering you continuity and treatment
suggestions, ideas on editing and title wordings.
if Club service . . . Those who wish to organize a
club — either for the production of films or for the
interchange of ideas between cameramen — will
obtain full aid.
if Film review service . . . You may send films to the
League for criticism and review.
+ Booklets and service sheets . . . These are available
to all members. Booklets are sent automatically,
as published, to members who request them. Book-
lets now current are:
Color filming — 27 pages, illustrated
Featuring the family — 34 pages
Lighting personal movies- 37 pages, illus-
trated
Films and filters — 31 pages, illustrated
Building a Dual Turntable — 30 pages, illus-
trated
if Equipment service . . . The League aids members
in locating new equipment.
if Film Exchange ... A member may list his films
for temporary loan among other members and will
receive in return a list of films offered by other
members.
if Special services ... in two important fields are
available. Through the Film Review Chart a mem-
ber can get particularly efficient criticism on his
reels. By means of the Film Treatment Chart, a
member may secure individually prepared film
plans and continuity outlines. These charts are
supplied on request to members only.
AMATEUR CINEMA LEAGUE. Inc.
420 Lexington Ave. Date
New York. N. Y., U. S. A.
I wish to become a member of AMATEUR CINEMA LEAGUE, Inc. My remittance for $5.00.
made payable to AMATEUR CINEMA LEAGUE. Inc.. is enclosed in payment of dues. Of this amount,
I direct that $2 be applied to a year's subscription to MOVIE MAKERS. (To nonmembers, subscrip-
tion to MOVIE MAKERS is $3 in the United States and possessions: $3.50 in Canada. $3.50 in other
countries.)
MEMBERSHIP $5 a year
Name
Street
City State
May '42
GET THESE INDISPENSABLE
FILMING AIDS AT ONCE FOR
Five dollars a year
Amateur Cinema League, inc.
420 Lexington Ave. New York, New York, U. S.
What Modernization Can Do
for Your •&**■$**■ Camera
If you'd like to do things beyond the scope
of your Filmo, you needn't be deterred by
the fact that the camera you need may be
difficult or impossible to buy now. For it
is probable that B&H craftsmen can give
your present Filmo the versatility you want.
Here is how Filmo 8mm. Cameras, for ex-
ample, can be modernized.
A title double-exposed on a mov-
ing picture background
One person plays two parts .
a double-exposure trick
Double Exposures and Lap Dissolves
With a camera equipped to rewind film after the first
exposure, so that it can be run past the aperture a
second time, making professional double exposures
and lap dissolves is easy. Your Filmo 8 can be fitted,
at the B&H factory, with the necessary Rewinding Attachment, which
includes external rewinding knob and frame counter, and internal
shuttle release lever and frame counter actuating sprocket. Prices, in-
cluding installation: for single-lens Filmo 8, $40.8 5; for Turret 8, $43. 5 5.
The lap dissolve
gives smooth transi-
tions
Special Effects Possible with
Different Camera Speeds
Your Filmo 8 operates in one of two speed
ranges: 8, 16, 24, and 3 2 frames per second,
or 16, 32, 48, and 64 f.p.s. If it is the former,
perhaps you'd like to take slow-motion
scenes, which require the 64-speed. And
some who originally chose the 16 to 64
range would now prefer the other, because
8-speed is useful for accelerating sluggish
action and for taking pictures under weak
light. Either speed range change can be
made on any Filmo 8 Camera at the B&H
factory or a B&H branch. Price, $10.65.
64-speed gives beautiful
slow-motion studies
VO .
Refinishing
Would you like to have your Filmo 8 Camera sparkle again as when new?
At the B&H Chicago factory we'll remove the mechanism, refinish the die-
cast housing just as we do new cameras, and reassemble, all for $7.50.
8-speed doubles the
rate of action
New Ease in Determining Correct Exposure
A new exposure guide, to replace the one now on your Filmo 8, covers all
the factors that affect lens diaphragm setting — not only seasons, hours of
the day, and types of subjects, as covered by your present guide, but also
film emulsion speeds, color filters, and camera operating speeds. Installed
on your camera at B&H factory or branch, $3.50.
Pin-sharp Focusing through Any Lens
A Critical Focuser, applicable to any
Filmo Turret 8 Camera at the B&H
factory and branches, permits see-
ing a magnified image of your sub-
ject through any lens on the turret
head. Thus you can focus visually
for maximum sharpness. Price, in-
cluding installation, $19-45.
ENJOY SOUND MOVIES AT HOME
The compact, portable Filmosound Utility is an all-
purpose 16mm. projector . . . shows both silent and
sound films. Amply powerful to serve in your church or
club auditorium.
Timely Films for Home Showings
"War w/rhouf Warning" Series
Intelligently compiled from various domestic and
foreign sources, these films deal with the fighting
fronts and the home fronts, too. Write for detailed
lists.
"Know Your Neighbor" Programs
B&H Filmosound Library offers scores of choice
films which increase our knowledge of our allied
peoples and of the vital geography of this first
global war. Details upon request.
8mm. Film Rental Library
Hundreds of popular Filmosound Library movies
are now available for rental in the 8mm. size. Users
of 8mm. projectors are invited to write for 8mm.
film catalog.
BELL & HOWELL COMPANY
Chicago; New York; Hollywood; Washington,
D. C; London. Established 1907.
PRECISION-
MADE BY
MAKE WUR F/LMOLASTf
(JseThis Economicol,New Service
To help Filmo owners keep their cameras and pro-
jectors in fine condition during the time when re-
placement would be difficult, we have established
economical, standard charges for each of three classes
of service on each camera and projector model. You'll
be surprised at how little periodic factory service
costs, and at how much it will add to the satisfaction
your Filmo gives you. Mark coupon for details.
BELL & HOWELL COMPANY
1843 Larchmont Ave., Chicago, 111.
Please send folder detailing and pricing .nod-
ernizations of: ( ) 8mm. cameras and pro-
jectors; ( ) 16mm. cameras; ( ) 16mm. silent
projectors; ( ) Filmosounds.
Send details on standard -price servicing of
Send details on ( ) Filmosound Utility;
( ) timely films for home showings; ( ) 8mm.
film rental library.
Name ■•
Address
City State mm 5-42
182
MAY 1942
133
MOVIE lVi^VK R S
The Magazine of the Amateur Cinema League, Inc.
COrVITEiNITS
Volume 17 May, 1942 Number 5
Cover, 16mm. scenes Frank E. Gunnell, ACL
Closeups . jg^
Free film reviews j^g
A specific example, editorial jgo.
They volunteered for victory James W . Moore, ACL 191
We made a Red Cross picture Walter Bergmann. ACL, and James J. Berman, ACL 193
Filming fish — not in the sea Kenneth F. Space, ACL 194
Projection for defense Arthur A. Hebert, ACL 196
Filming New Brunswick's isle Robert W . Crowther, ACL 197
Practical films James N. Young, jr. 198
Holiday in Dixie Morton H. Read, ACL 199
Amateur clubs James W, Moore, ACL 202
Your draft board Stanley H. Hackman, M.D., ACL 203
The clinic Kenneth F. Space, A CL 204
News of the industry Donald Maggini 206
Films you'll want to show 207
Hobart Photo Features
ARTHUR L. GALE
Editoi
JAMES W. MOORE
Continuity Editor
KENNETH F. SPACE
Technical Editor
ALEXANDER de CANEDO
Art Editor
DONALD MAGGINI
Advertising Department
is published monthly in New York, N. Y.. by the Amateur Cinema League, Inc.
Subscription rate $3.00 a year postpaid (Canada and Foreign $3.50); to members of the
Amateur Cinema League, Inc., $2.00 a year, postpaid; single copies 25c (in U. S. A.). On
sale at photographic dealers everywhere. Entered as second class matter, August 3, 1927,
at the Post Office at New York, N. Y., under act of March 3. 1879. Copyright, 1942, by the
Amateur Cinema League, Inc. Title registered at United States Patent Office. Successor to
Amateur Movie Makers, title registered at United States Patent Office. Editorial and
Publication Office; 420 Lexington Avenue, New York, N. Y., U. S. A. Telephone MOhawk
4-0270. Advertising rates on application. Forms close on 10th of preceding month.
CHANGES OF ADDRESS: A request for a change of address must reach us at least by
the twelfth of the month preceding the publication of the number of Movie Makers with
which it is to take effect. Duplicate copies cannot be sent when a number of the magazine
does not reach you because of failure to send in this advance notice. The Post Office will
not forward copies unless extra postage is provided by you.
184
MAY 1942
"Catastrophe" by Don Corvelli, Photo-
graphic Manager of the Camden, N. J.
Courier-Post Newspapers. This gripping
scene won the Gold Medal award of the
New Jersey Press Association as the out-
standing news picture of 1940. Corvelli
risked his life to make this vivid picture
during the Hollingshead fire and explosions.
He writes: "I have been using Wollensak
enlarging lenses for 15 years. I prefer the
Wollensak lens for the crystal clear, bril-
liant images formed in projection." Improve
your photography with a Wollensak.
WOLLENSAK OPTICAL CO., Rochester,**
MOVIE MAKERS
185
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First Soldier" and "Manila Bombed" (.both ■
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186
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33 IjeaAA
Closeups — What fil
mers are
MAY 1942
doing
To his many friends in international
film competition, Movie Makers is
happy to announce that James A. Sher-
lock, a founder officer and member of
the Australian Amateur Cine Society,
in Sydney, has hung out his shingle as
a commercial producer of 16mm. indus-
trial and "documentary" motion pic-
tures. Mr. Sherlock has taken awards
in every international competition in
which he has entered, including a
place in the Ten Best, two awards in
Hollywood, two in London and others
in Glasgow and Tokyo. Among his best
known pictures are Surf, Sand and Sun-
shine, Ships of Sydney, Nation Builders
and The City of Sydney.
Our Nassau County Red Cross is
among the latest of the growing num-
ber of substandard motion pictures be-
ing produced by volunteer filmers
across the country, to aid the war ef-
fort. Running 600 feet of 16mm. mono-
chrome, the picture was produced by
Mrs. Margaret F. Currie, ACL, and had
its premier screening recently in the
Manhasset Theatre in her home com-
munity on Long Island. N. Y. A distin-
guished audience, led by Mrs. Henry
P. Davison, chairman of the Nassau
County chapter and a member of the
national board of directors of the
American Red Cross, attended the
presentation. Later screenings of the
film followed at The Playhouse, in
Great Neck, the Beacon Theatre, in
Port Washington, and the Hempstead
Theatre, in that community.
Others serving the Red Cross locally
in their cities are H. F. Hamilton, ACL,
of Findlay, Ohio, who is making a film
of the activities of the Junior chapter
at the request of the senior group;
Donald A. Buchan, ACL, of North An-
dover, Mass., who has announced plans
for the production of reels to be used
locally in conjunction with the ARC
First Aid courses, and C. P. Spencer,
in Cedar Rapids, Iowa, who has similar
plans for film making in his city.
In the related field of civilian defense.
George H. Snider. ACL, of Buffalo.
N. Y., has been busy screening defense
instruction films for his city's Defense
Council two nights weekly in a local
high school. Sydney A. Lazarus, ACL,
of Glen Ridge, N. J., and Harold
Rhodenbaugh, ACL, in Louisville, Ky.,
both have plans on foot for the produc-
tion of record films of OCD activities
and arrangements in their separate
communities.
Air wardens and others in Brooklyn,
N. Y., who are interested in using
movies in the cause of civilian defense
will find that Samuel L. Levy is exactly
the man they are looking for. The own-
er of one of the largest private libraries
of sound on film defense pictures in
the country, Mr. Levy has been making
his contribution to the borough's war
effort in a series of two screenings
weekly of these films and others sup-
plied by the Civilian Defense Volunteer
Office. He presents his programs in per-
son on the latest 16mm. sound equip-
ment and with absolutely no charge to
the groups he has served. When we
talked to Mr. Levy about this one man
"Music Hall" project, he estimated
that he had already reached more than
100,000 persons in over 100 screenings.
To arrange a booking, call him during
business hours at Dickens 6-3000 or
drop in to see him at the Singer &
Singer Hardware Store, 335 Sutter Ave-
nue, in Brooklyn.
At least part of the elaborate cere-
monies, last month, marking the one
hundredth anniversary of New York
City's present public school system will
be recorded for posterity in motion pic-
tures, according to a report from Frank
E. Gunnell, ACL, of West New
Brighton, on Staten Island. Mr. Gun-
nell, who is a teacher in Richmond's
P. S. 45, made a complete and care-
fully authentic record in 16mm. color
of the recreated school days of 1842,
staged by the city in seven historic
school buildings throughout Greater
New York. His film treats only of the
ceremonies carried out in Staten Island,
where eighteen boys and girls, in cos-
tumes designed from illustrations in
Godeys Woman s Magazine, went
through the day long rituals of our
antiquated education. The setting se-
lected for the Staten Island celebration
was the 246 year old Voorlezer House,
believed to be the oldest elementary
school building still standing in the
United States.
Although exposed in the warm south
of Natchez, Miss., Historic Homes, a
16mm. color film by A. K. Stussy, ACL,
of Eau Claire, Wise, is strangely remin-
iscent of Symbols of Hospitality, pro-
duced by the Reverend Frederick W.
Smith, ACL, in the cooler latitudes of
New England, and noted in this col-
umn in March. Like Mr. Smith. Mr.
Stussy has done much to capture the
nostalgic flavor of an older era — in his
film, that of the ante bellum Southland.
The picture was produced last spring,
during the annual (and justly famous)
Natchez Garden Tour Week, in which
many of the oldest and finest of the
river city's ancient mansions are thrown
open for public visit. It is a subject we
can heartily recommend in these days
of film restrictions.
"Bill brought his Revere
and we're going to take Movies! "
FOR TOP ENTERTAINMENT AT LOW COST
S - ^- CAMERA
With a Revere 8 mm Camera you can take
movies of your good times in black-and-white
or brilliant natural colors as easily as you
now take snapshots. Action scenes (not posed
stills) cost about 10c each — fully processed,
ready to show. What finer way is there to
record the visits of Service Men on leave,
your children's birthday parties, week-end
hunting and fishing trips, and other happy
events? And what a thrill you and your
friends will get when you see these action
movies !
The Revere Camera, with its 5 speeds, fast
lens, exclusive reciprocating sprocket film
control for steady, sharp movies and many
other advantages, is so simple to use
that even the beginner can get good
movies with it. Ask your dealer about
precision-built Revere 8 mm Cameras
and Projectors. Write for literature.
Revere Camera Company, Dept. 5MM,
320 E. 21st St., Chicago, Illinois.
REVERE MODEL 88 CAMERA
takes all standard 8 mm film. Easy to load and to
operate. Eastman-licensed spool and spindle. 5 speeds.
Revere reciprocating sprocket film control. Built-in
Dptical view finder, corrected for parallax. Precision
mechanism with powerful, smooth-running motor. Com-
plete with Wollensak F 3.5 lens, $38.50.
REVERE MODEL 99
TURRET CAMERA
has the same basic features as
Model 88 plus a rotating turret
head for 3 screw-type lenses,
and an extra optical view find-
er for use with telephoto lens.
Complete with one Wollensak
F 2.5 lens, S77.50.
with a REVERE PROJECTOR
Next to the excitement and fun of taking
movies is the thrill of seeing them projected
on your home screen with a Revere Projector.
This powerful equipment excels in features es-
sential to brilliant pictures, smooth operation
and dependable performance.
MODEL 80
(Shown here)
Heavy duty AC-DC mo-
tor. Double blower cool-
ing system for lamp and
film. Enclosed precision
mechanism (no belts).
Fast power rewind. Man-
ual clutch for stills. Radio
interference eliminator.
Complete with 500 watt
lamp, F 1.6 lens and one
300-ft. reel, $75. OO.
MODEL 85
has the *ame features
as the "80" plus duo-
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case. Complete with 500-
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$89.50.
Revere Qualify S%£?ufi/mnf
fc*uf U. S. DEFENSE SAVINGS
BONDS AND STAMPS Ato** !
••••••••••••■*••••••••••••••••••••* * » A
188
MAY 1942
FREE FILM REVIEWS
You can borrow these new publicity movies without charge
THESE films, the latest publicity pic-
tures produced, are offered on loan,
without charge. Some may be available
to individuals, and others are available
only to clubs or groups. In certain cases,
the type of organization to which the
films are lent without charge is speci-
fied. To borrow these films for a screen-
ing, write directly to the distributor,
whose address is given. (Note carefully
the restrictions mentioned in each case.)
LATEST RELEASES
New York Calling!, 800 feet, 16mm.
sound on film, color; produced by Fred-
erick G. Beach, ACL. Supervisor of
Motion Picture Bureau. Public Rela-
tions Department. New York Central
System.
Offered to: groups only.
Available from: The Departments
of Visual Education of the State uni-
versities of California. Colorado, Illi-
nois, Indiana. Iowa. Michigan, Minne-
sota, Washington and Wisconsin; also
from Texas Christian University, Fort
Worth, Texas, and Syracuse University,
Syracuse, N. Y.
New York Calling! is a swift moving
tour of the high spots of New York City
and its environs. Opening sequences of
the Hudson River Valley show an often
neglected aspect of New York. Most
of the film is devoted to the city itself,
covering virtually all points of interest
in frequently beautiful shots. The film
closes with the visitor entrained once
more, homeward bound.
Chrysanthemum Time, 400 feet, 16mm.
silent, color; produced by Edward F.
Wheeler.
Offered to: groups.
Available from: Edward F. Wheeler,
Director of Visual Education. Depart-
ment of Education. Bristol, Conn.
Chrysanthemum Time presents many
of the chrysanthemum displays of the
Bristol Nurseries, which are the largest
in the world. The film shows the flow-
ers, both in their surroundings and in
solitary splendor. Many of the varieties
are shown in beautiful closeups.
Americans All, 885 feet. 16mm. sound
on film, black and white; produced by
Julien Bryan, assisted by Jules Bucher.
Offered to: groups only.
Available from: Coordinator of
Inter-American Affairs. Motion Picture
Division. 444 Madison Avenue, New
York, N. Y.
Americans All is the first of a new
series of Inter-American films, designed
to make Americans of the South under-
standable to those of the North. A com-
pilation of current shots and older stock
material, the film is wide in its scope
and moves swiftly. Starting with a brief
historical resume of South American
background, the main portion of the
picture is devoted to the outstanding
features of the twenty one Central and
South American republics.
East of Bombay, 1200 feet, 16mm. sound
on film, black and white; produced by
Armand Denis Productions.
Offered to: groups and individuals.
Available from: Dodge Division,
Chrysler Corporation, 211 Chrysler
Building. New York, N. Y.
East of Bombay was filmed on a
Denis-Roosevelt expedition to little
known portions of India, Burma and
Ceylon. Ivory carving, rug making,
tricks of the fakirs, Buddhist cere-
monies and the famous procession of
the Juggernaut help to convey the mys-
tic atmosphere of these lands. Wheels
Across Africa and Wheels Across India
are earlier productions of these same
explorers.
Educator's comment: This is an in-
teresting film for any junior or senior
high school class studying India. —
E.D.C.
Come Out of the Kitchen, 3 reels,
16mm. sound on film, color and black
and white; produced by the Jam Han-
dy Organization.
Offered to: senior high schools and
adult groups only.
Available from: Y.M.C.A. Motion
Picture Bureau, 347 Madison Avenue.
New York, N. Y.; 19 South La Salle
Street, Chicago, 111.; 1700 Patterson
Avenue, Dallas, Texas; 351 Turk Street,
San Francisco, Calif.
Come Out of the Kitchen tells of the
part played by the canning industry in
liberating the housewife from much of
the drudgery of her work at home. We
see the careful growing, production and
preparation of foodstuffs which provide
the material for the tempting and nu-
tritious canned soups of today, which
are served with a fraction of the labor
and time needed in the past.
Meat for America, 2 reels. 16mm.
sound on film, black and white; pro-
duced by Burton Holmes Films, Inc.
Offered to: groups only.
Available from: Y.M.C.A. Motion
Picture Bureau, 347 Madison Avenue.
New York, N. Y.; 19 South La Salle
Street. Chicago. III.; 1700 Patterson
Avenue. Dallas Texas: 351 Turk Street.
San Francisco, Calif.
This film tells the story of America's
third largest industry — meat packing — ■
from the meat "on the hoof" to that on
your dining table. Opening with scenes
of Western pasture lands, the film then
shows the great packing centers where
cattle, sheep and hogs are turned into
food. Rigid tests and inspections are
the rule, and meat must meet the re-
quired specifications at every stage of
the preparation. There is also a se-
quence in the experimental kitchens of
Armour & Company, where new ways
of serving meat are developed, to retain
as much of the original health value as
possible.
Putting Plantfood to Work, 1 reel, 400
feet. l6mm. sound on film (also 2 reel
silent version), color; produced by the
National Fertilizer Association.
Offered to: groups, especially coun-
ty agents and extension specialists.
Available from: The National Fer-
tilizer Association, 616 Investment
Building, Washington, D. C.
Putting Plantfood to Work is the
story of applying fertilizer. The film
interprets the development of fertilizer
application, the problems encountered,
the movement of fertilizer in wet and
dry soil, and it covers many other
points. Almost all the major crops and
many of the minor ones are used to
demonstrate the results of experiment
stations and of farmers using the better
methods of application.
Educator's comment: Although the
film is quite technical and therefore
best adapted to agriculture classes, it
may also be used by any groups study-
ing farming, because it illustrates how
different crops are planted, cultivated
and harvested. — E.D.C.
Hawaii, USA, 1000 feet. 16mm. sound
on film, color; produced by Hawaii
Tourist Bureau.
Offered to: groups only.
Available from: U. S. Travel Bu-
reau, 45 Broadway, New York. N. Y.
Hawaii, USA covers all the impor-
tant points of interest in the Territory
and shows the natives engaged in ac-
tivities, such as making leis. fishing
with nets, constructing canoes and rid-
ing surfboards. It contains remarkably
fine sequences of the sugar and pine-
apple industries, and there are views
of the military defenses of the Islands.
Educator's comment: Any age
group, studying the Hawaiian Islands,
ought to see this outstanding travel
film. It will also be very useful to mod-
ern history classes discussing our ter-
ritorial possessions. — E. D. C.
189
A SPECIFIC EXAMPLE
IN JANUARY Movie Makers several courses of
action were suggested by our President to patri-
otic filmers who want to have a part, with their
cameras, in the war effort of the United States.
One of these courses was a proffer of service to local
Civilian Defense officials. This field of filming aid has
found favor in many communities, as movie makers
have helped the civilian defense of their home towns.
In New York City, the procedure was reversed,
because Civilian Defense authorities in the Borough
of Manhattan came to the Amateur Cinema League
to discover if New York amateurs would help in
making a film to be used in increasing the volunteer
enlistment of nurses' aides. League headquarters were
able — thanks to the registration of movie makers on
blanks printed in February Movie Makers — very
quickly to put Manhattan Civilian Defense officials in
touch with personal filmers. These filmers not only
provided the finest kind of technical capacity in the
camera work of Leo J. Heffernan, ACL, latest winner
of the Hiram Percy Maxim Memorial Award, but
also contributed the film used.
Elsewhere in this number of Movie Makers is
found the story of The Volunteer Nurses' Aide, the
film that resulted from the New York City effort.
This picture was not only made with amazing speed,
but it was issued in both a silent and a sound version,
an elaboration that may not be possible, or even neces-
sary, in many instances. Already, since its premiere,
in mid April, the film has been shown in continuous
projection in store windows and to bodies of women
all over New York's five boroughs. It is doing a
definite and essential war job.
There is no reason why every city and town in
the United States where a single amateur movie maker
lives should not have this kind of film at the service of
its Civilian Defense Council. Perhaps the call is for
a movie presentation of some other civilian defense
need or activity. Manhattan elected to have first a
film to aid the enlistment of women as nurses' aides,
but this example can be and should be varied accord-
ing to local conditions.
It is not necessary to wait for Washington to push
the button. Mr. Landis and General Gasser, of
the Washington Office of Civilian Defense, have
repeatedly pleaded for self starting local effort. There
is no disposition on their part to slow down the
volunteer effort in national civilian defense by "red
tape" in their office or in any regional or local office
that deals with this important matter of protecting
the civil population.
The New York City film was made entirely by
local initiative, without aid from Washington. Your
community can go forward in this same direct and
practical fashion. If your local defense officials are
timid, if they want to "refer it to Washington," re-
mind them that Mr. Landis has pleaded against just
those delaying tactics.
This country will achieve practical civilian defense
not by waiting for leadership from Washington, but
by taking off its collective coat, rolling up its com-
munity sleeves and going forward, in the old, self
reliant American way. Let's do this in the matter of
Civilian Defense movies!
The AMATEUR CINEMA LEAGUE, Inc.
whose voice is Movie Makers, is the international or-
ganization of movie amateurs, founded in 1926 and
now serving filmers in many countries. The League's
consulting services advise amateurs on plan and execu-
tion of their films, both as to cinematographic tech-
nique and continuity. It serves amateur motion picture
clubs in organization, conduct and program and pro-
vides for them a film exchange. It issues booklets. It
maintains various special services for members. The
League completely owns and operates Movie Makers.
The directors listed below are a sufficient warrant of
the high type of our association. Your membership
is invited. Five dollars a year.
Hiram Percy Maxim, Founder
DIRECTORS OF THE LEAGUE
STEPHEN F. VOORHEES, President .
JOHN V. HANSEN. Vice President .
ETHELBERT WARFIELD. Treasurer
C. R. DOOLEY ....
MRS. L. S. GALVIN
H. EARL HOOVER ....
HAROLD E. B. SPEIGHT
FLOYD L. VANDERPOEL
T. A. WILLARD ....
ROY W. WINTON, Managing Director
. New York City
Washington, D. C.
• New York City
. New York City-
Lima, Ohio
. Chicago, III.
Ithaca, N. Y.
Litchfield. Conn.
Beverly Hills, Calif.
. New York City
Address all inquiries to
AMATEUR CINEMA LEAGUE, INC.
420 LEXINGTON AVE.. NEW YORK CITY. U.S.A.
Amateur Cinema League offices are open from
9:00 A.M. to 5:00 P.M., Mondays through Fridays
190
Production
ddli" l/vom
Photographs by Erich Kastan
191
/^-\
W
r~\
w
n
u
z~\
<s
• Frames from 16mm. sound
picture, "The Volunteer
Nurses' Aide."
JAMES W. MOORE, ACL
JUST three weeks to a day — from the first written word of the film plan to
the last fade out on The End — was the record set recently in New York
City by the 100 percent volunteer production of a film for America's war
effort. The Volunteer Nurses' Aide, running 460 feet of 16mm. monochrome
sound on film, is a challenging answer to any who have said, "It can't be
done." IT — the completely volunteer production of a competent defense film
— has been done and done well!
Here is how it happened. As you well know, the Amateur Cinema League
has for months been urging individual amateurs and groups of amateurs to
turn their movie making skill to the service of their country. Many have done
so, and many more are at this minute engaged in further work. Recently such
an opportunity came to movie makers in New York City. For, from the Man-
hattan Civilian Defense Volunteer Office came a call to
the Amateur Cinema League to assist them in organizing
the production of defense films on a voluntary basis.
The League welcomed this opportunity in its head-
quarters city. After a preliminary discussion, the ACL
sent formal requests to a number of League members in
the metropolitan area, asking them if they would offer
their services to the Civilian Defense Volunteer Office in
the proposed production. Each one accepted immediately
and with enthusiasm. Other League members were found
who were willing to underwrite the basic costs of the
project.
Leo J. Heffernan, ACL, winner of the Maxim Memorial
Award in 1941, accepted the important post of director
and cameraman. Mrs. Lee Dick, ACL, associate director of
the CDVO Film Bureau, undertook the responsibilities of
production supervisor and acted throughout for her
office, sponsors of the film. The League's continuity con-
sultant, working with that bureau as a regular part of
membership service, prepared a film treatment outline
for the suggested course of the picture.
A production conference was then called. In attendance,
besides those just mentioned, were Mrs. Randolph Gug-
genheimer, director of the CDVO Film Bureau and her-
self an able amateur filmer, and Mrs. William Rothholz.
director of hospital service for the American Red Cross,
in New York City. Since a city wide campaign for in-
creased enrollment of Volunteer Nurses' Aides was al-
ready planned by the Civilian Defense Volunteer Office,
this problem of the country's defense effort had been
selected as the subject of the film. At this first conference,
the treatment outline was discussed and was partially re-
vised, the important settings of the film plan were se-
lected and a production schedule was arranged.
A day later Mr. Heffernan had translated the
accepted treatment outline into a full fledged shoot-
ing script, which was in turn approved by all those
concerned with it. The story called for a brief in-
16mm. scenes by
Leo J. Heffernan, ACL I
troduction, stating the country's great need for Volun-
teer Nurses' Aides: major sequences outlining the
registration of a Volunteer Nurses' Aide and the two
phases of her Red Cross training; slightly shorter se-
quences high lighting the Aide's graduation and actual
hospital service, and a moving appeal, in conclusion,
for new volunteers.
The major settings required by the scenario were
arranged for by Mrs. Dick, as production supervisor.
The first day of shooting was devoted to scenes of
registration, interview and physical examination of
the new volunteers, activities carried on in the Civilian
Defense Volunteer Office itself. On the second day,
rs. Rothholz had ready the complete cooperation of
Red Cross headquarters, with an actual class of volun-
teers in training assigned to the production, and of the
classrooms, with the provision of all necessary proper-
ties, such as Nurses' Aide uniforms and training equip-
ment. A reenactment of The Capping, graduatien cere-
mony after eighty hours of training, was especially
staged for the production.
The third and fourth days of the shooting schedule
found the production unit at New York's great Mount
Sinai Hospital. Here, at the request of the CDVO and
of the Red Cross, Grace Warman, principal of the
School of Nursing, had arranged for filming actual
wards and patients in long shot, while, for near shots
and closeups, a ward was set up in the hospital's larg-
est classroom. Miss Warman obtained the willing co-
operation of doctors, registered nurses and graduate
Nurses' Aides, as needed. All the important phases of
the Aide's training and later service, including an
exciting sequence suggesting the hospital's emergency
medical service during an attack, were recorded in two
days of concentrated shooting.
In each of these scenes and settings, all the parts,
save for the film's leading role, were played by those
actually engaged in the work pictured. However, the
script called for a single central character — a young
girl whose adventures as a Volunteer Nurses' Aide
present the theme of the picture. The producers were
fortunate in securing the volunteer services of an ex-
pert. Patsy Campbell was selected from among a
number of trained actresses offered by the American
Theatre Wing, and she went through her week long
assignment with unflagging zest and ability.
It had been decided at the outset of the production
to shoot the footage at twenty four frames a second,
thus making possible the creation of both sound and
silent versions of the film. Technically, this idea was
worked out as follows — with all the shooting com-
pleted, the picture footage was first edited from the
point of view of a post re- [Continued on page 2081
192
How Red Cross was served
by two volunteer filmers
• Film and services for this
Red Cross movie were do-
nated by two public spirited
movie makers.
WALTER BERGMANN, ACL, and JAMES J. BERMAN, ACL
VVVE ARE mighty proud of the Red Cross service pins
» » in our coat lapels. To us, they are badges of honor
for the good, hard work that we did for that greatest of
all humanitarian organizations, the American Red Cross.
To serve the Red Cross, we gladly gave up practically
all our spare time for a whole month, to make a 450
foot, 16mm. color movie depicting the activities of the
Mt. Vernon, N. Y., Branch of the American Red Cross.
Because the picture had to be ready for the Annual Roll
Call, there was but a month in which to film the scenes.
make the titles, edit the picture and select the phono-
graph recordings for musical accompaniment, but it
was finished on time.
This picture is different from the Red Cross pictures
used in theatres. It is no soul stirring epic of battlefield,
flood area or major catastrophe. It is just a simple pic-
ture of folks in our community. The cast is composed en-
tirely of local volunteer Red Cross workers, and the movie
was made by two amateur movie makers who gave their
efforts wholeheartedly.
The picture has been projected over forty times before
business and social organizations, religious institutions
and schools. Over 4000 persons living in Mount Vernon
have seen it. Without exception, the audiences have al-
ways responded with genuine enthusiasm.
We like to think that it was our filming skill, the stir-
ring musical accompaniment and the crisp wording of our
titles that gave the movie its "punch," but we know, in
our hearts, that it was the actors and what they were
doing for the Red Cross that captured the fancy of the
audiences. Mt. Vernon citizens who viewed the picture
recognized their neighbors and friends in it and imme-
diately felt that they had a proprietary interest in the
film. It was a picture of people that they knew and it
revealed to most of them, for the first time, many of the
local activities carried on by the Red Cross. Such com-
ments as "Doesn't Mrs. Jones look natty in that Motor
Corps uniform!," "I must take that Red Cross First Aid
course," "Oh, look, there's Mrs. Brown" and "How neatly
those bandages are folded!" were made continually dur-
ing screenings.
Since we recognized that the production was to be a
glimpse at the everyday scenes in the local branch of the
Red Cross, we dedicated the picture in the opening title
as follows:
Foreword —
While every one knows of the great uork performed
by the Red Cross throughout the world, few people realize
that right here in Mount Ver- [Continued on page 208]
194
Fig. I
Fig. 2
Fig. 3
Photographs by Frederick G. Beach, ACL
WHEN we had finished our adventures in filming Fluffy, the
Kitten (Movie Makers, March, 1941), we had just about de-
cided not to undertake any production which might involve work-
ing with animals that could not be expected to understand verbal
directions. The reactions to Fluffy were so cordial, however, that we
finally succumbed to the idea of making another educational film
for children.
In searching about for a subject, we had in mind the trouble
that we had encountered in limiting the area in which the subject
could move. (Some limitation is necessary if you are to be able to
light the scene and to focus on the subject.) Finally, we hit upon
what we thought would be the ideal solution — a film about fish.
Obviously, fish could not prowl about the room, and they certainly
would not stroll over and smell the camera lens every time that a
closeup was to be taken. Yes, a film about fish would be a very
simple endeavor.
We first decided to do a movie about tropical fish, but we knew
of several excellent ones that had already been made; then, too,
this was to be a teaching film, and the care of tropical fish might
be a bit complicated for young children; so, we felt that a simple
exposition of the life of a goldfish would be the best plan. Thus, the
production of Finny, the Goldfish began.
We shall omit the lengthy procedure of research and the prep-
aration of a script that was based upon the information that we had
gleaned from books, pamphlets and authorities on the subject. Suffi-
Fig. 4
The domestic aquarium
has a world of cine lure
Fig. 5
• Fig. I — the tank on
the kitchen stepladder
with the lighting setup.
Fig. 2 — the mask cut
out of cardboard, to
protect lens from direct
rays of lights. Fig. 3 —
mask in place and
taped to tank. Fig. A —
filming position for full
shot of tank. Fig. 5 —
taking an ultra closeup.
n
w
n
b
1
N
u
195
cient to say that we soon found out that there was more
to the subject than we had anticipated, but we were con-
stantly encouraged by the thought that the filming would
be no problem at all.
Our final bit of research took place at the local fish
store, where we purchased two oblong glass tanks (we
made sure that the glass showed no scratches or other
imperfections), a bag of small white gravel, some water
plants, a hose for siphoning the water out of the tank,
a small net, some fish food and several plain goldfish.
We felt that we should need two tanks, so that we could
keep all the fish in one, and then dip out the single fish
that we might want to film at any one time. Thus we
should have a filming tank and a supply tank.
Because of the fact that we expected to drip water
about, we decided to do the filming in the kitchen, and
we found that a small folding kitchen ladder would make
an excellent support on which to place the fish tank that
was to be filmed. After setting the ladder and tank up,
and filling the tank with all the proper greens, sand and
water — but no fish — we did a bit of experimenting with
lights. We planned a scene area that would be no larger
than the tank, and we found that the new inside silvered
flood bulbs gave us just the brilliant, concentrated light
that we needed. We placed them within inexpensive re-
flectors and attached the bakelite handles used on Silex
coffee percolators (The Clinic, November, 1941, Movie
Makers) for ease in manipulation.
Since the camera was quite close
to the tank, we met our first prob
lem in the fact that, even
with the light concentrated
on the scene area, some di-
rect light was still striking
the camera lens. Rather than
making a deep lens hood
for the camera, we decided
to make a full mask for the
tank, so that we could place
lights in any position behind
the mask and, at the same
time, prevent any of the rays
from striking the lens directly. This solu-
tion was very simple, and it worked out
entirely to our satisfaction.
We first placed a section of corrugated
cardboard across the highest step of the
ladder below its top which supported
the tank. This position, as well as the
placement of the lights, can be seen
in Fig. 1. Next, we acquired a large
cardboard packing case and, from it,
we cut one side and part of the two
lower corners, which we folded back
so that they would support the large
side upright. Then, in the cardboard,
we cut a hole the size of the tank.
KENNETH F. SPACE, ACL
(See Fig. 2.) We also cut away part of the cardboard
below the opening, to accommodate the slanting legs of
the ladder. Fig. 2 shows the cardboard being put into
position, and Fig. 3 shows it in place and also shows how
it blocks the direct rays of the light.
As can be seen in the illustrations, the large cardboard
mask rests on the long piece of cardboard that was first
placed across the step of the ladder. Also are shown the
pieces of adhesive tape that are used to attach the mask
to the tank and to seal the slit between the two.
With this arrangement of the mask and the lights, we
were able to illuminate the fish tank so that the water
appeared to be brilliant and [Continued on page 210]
es by v
the f£', V°Oi
• Frames from "Finny,
the Goldfish," filmed by
the author by methods
he describes here.
PROJECTION FOR DEFENSE
196
AFTER defense and war films have been made, they
^ must be shown — shown to everybody. Otherwise
all the effort of production is wasted. It is in making
possible a tremendous number of showings that the
amateur fiimer can contribute the most. He can give his
own services and can use his own projection equipment,
to show defense training films to many small groups.
Thus, essential information will reach the masses just
so much more quickly.
The amateur with a 16mm. sound on film projector
will be in immediate demand, for most defense training
films in use are 16mm. sound. Of course, silent pictures
are used, too, and their number will increase as movie
makers turn their cameras to defense topics. At the mo-
ment, however, the greater demand is for sound pro-
jection.
Mr. Movie Maker should get in touch with his local
Defense Council at once and offer his services for show-
ing the films that it is using. Although he may not have
a sound projector of his own, his service will be wel-
comed in operating sound equipment which the council
may have available. By offering himself as an operator,
he will help to distribute the burden which, up to now,
has fallen on a very few.
When Mr. Movie Maker goes out to project a film, he
should handle the job in a thoroughly professional man-
ner. The professional operator always starts by checking
his equipment before leaving his base. He assures himself
that the projector is running properly, that it is clean and
that it has been oiled. He makes certain that spare lamps,
spring belts and takeup reels are in the case. Also he sees
that he has lens cleaning tissue and an aperture cleaning
brush, for it is sometimes necessary to clean the gate be-
tween reels.
These things are of paramount necessity. Now let us
• Project over
A projection guide for
group and club screenings
ARTHUR A. HEBERT, ACL
consider the whole list of equipment that is useful in
projection. All the items listed in the following discussion
are not necessary in all cases. If the volunteer projection-
ist has all the facilities discussed, he is exceptionally well
equipped. If he does not have those things he needs, per-
haps he can borrow them and, if not, he will make the
best compromise possible.
The screen should be of a size that is adequate for the
hall or audience. It should be at least thirty nine by fifty
two inches and should be of the tripod stand type. Gen-
erally, a forty five by sixty or fifty two by seventy two
inch screen is used by professional 16mm. projectionists,
and a number of them also carry a six by eight foot
screen, for use in larger halls.
Extra projection lenses of three or four inch focus will
be found to be desirable. They permit one to place the
projector at the rear of the group and yet to keep the
image down to the screen size. The standard two inch lens
will fill a thirty nine by fifty two inch screen at a dis-
tance of twenty three feet, while a three inch lens will
give the same size picture at thirty four and a half feet,
and a four inch lens will do the same job at forty six feet.
Two and a half and three and a half inch lenses are also
available, to work at intermediate distances.
Extension cables are an absolute necessity. A length of
at least fifty feet should be carried at all times; it is
often necessary to run the alternating current line all the
way from the front of the hall back to the pro-
jector. This extension cable should be made of
No. 14 wire. It is a matter of personal choice
whether the cord be one continuous length or be
made up of twenty foot sections. The cable should
be coiled carefully and tied in the coil. A small
canvas bag will make a handy carrying case for
the cable.
Sound projectors are equipped with fifty feet
of speaker cable as standard equipment. You will
find it almost absolutely necessary to carry a
fifty foot extension. While your alternating cur-
rent extension cable can be made by any elec-
trician, speaker cables are of special construc-
tion, and they must be purchased from your
dealer or projector manufacturer.
There are several makes of projector stands
on the market. If you have one, use it. A projec-
tor stand will save you much scurrying around,
looking for suitable tables. And, much more im-
portant, it will permit you to raise the projector
high enough to clear [Continued on page 2201
FILMING NEW BRUNSWICK'S ISLE
Life on Grand Manan is subject of record film
IT WAS a sunshiny and brilliant day on Grand Manan,
New Brunswick's island in the Bay of Fundy. The best
filming weather ever, but I was looking for fog. I wanted
to film the weather beaten gray villages of Grand
Manan 's coast and I wanted to catch them in one of the
fogs that roll in from the Bay of Fundy.
I was shooting in color, and one limited experience in
filming a soft fog in color, years ago, had given me an
unlimited desire to experiment. When, finally, the fog
did come in from the sea, I made atmospheric shots of
the fishing villages that, I feel, are more beautiful and
expressive than the crystal clear results of a brilliant day.
Fog fits these seacoast and fishing villages; it sets off the
weather beaten grayness of the villages of North Head,
Castalia, Grand Harbour and Seal Cove, and fog, light
and fairly heavy, is inexpressively effective in color shots.
Try it some time.
Grand Manan is an island that wins its way to your
heart as you explore it. Its people are so friendly and
its villages are so picturesque that it does not take you
long to find a theme for a movie. The life of the island's
people and how they earn their living are an obvious
movie motif.
One of the first things that attract the visitor's attention
and call for an explanation from his guide is the sight of
the piles of sticks and brush that are just offshore. These
piles are shaped like large G's, with the crossbar drawn
out to a considerable length. The visitor is told that these
are weirs — pronounced "wares" — gigantic fish traps for
the herring. Grand Manan lives by catching herring. The
fish follow the shore line until they reach one of the
• Lead title and frames from "Grand Manan,"
New Brunswick movie described by author.
ROBERT W. CROWTHER, ACL
elongated crossbars, which turns their direction into the
open part of the G. The entrance to the weir is very
cleverly trapped, and the herring stay there. When the
weir is judged to be sufficiently full, it is seined, and here
is a grand opportunity for a sequence.
Everything depends on the tide, and my first seining
took place early one morning. We had made arrange-
ments with a captain, to take us on board his boat. The
time was set for five o'clock in the morning, and this
hour meant that we should get out at four o'clock, for
first we had to drive to Whale Cove.
Even though it was July and there was a heat wave
back home, four o'clock in the morning on Grand Manan
was more like January than summer, and our teeth chat-
tered with the cold. But it is something to be cool in July,
and we went well fortified with extra sweaters and coats.
The sun was just coming over the horizon when we
reached the cove, and the silhouette of the dark shacks
and fish reels against the early morning light made a
good opening shot for the picture that was to follow.
Gradually, the men who were to seine the weir put in
their appearance. This work is not a one man proposi-
tion; in fact, usually several men share an interest in one
weir, which may bear such a fascinating name as Brown
Bread. Toothpick or Polly. The captain greeted us, and
we soon piled into his dory; then we were transferred to
a larger boat that was to take the catch. In the mean-
time, we were filming the men as they gathered in the
net from the reel that was on a float near by.
Then our vessel entered the weir itself, and the net was
lowered. Soon the waters about [Continued on page 211]
16mm. scenes by Robert W. Crowthev, ACL
197
198
• George Cadenas filming
Consolidated Edison's "Men
at Work and at Play."
PRACTICAL
FILMS
Movie of Manhattan
New York Calling!, a new motion picture of the
world's greatest city, has been announced by the New
York Central System as the first release of its Motion
Picture Bureau, in charge of Frederick G. Beach, ACL,
former technical consultant of the League. Running 800
feet of 16mm. sound on film Kodachrome, the produc-
• Frames from "New York Calling!", produced by
the Motion Picture Bureau of the New York Central.
16mm. scenes by Frederick G. Beach, ACL
1GHTSEBNG MtOUHD
fianii
The non theatrical movie as
used for various purposes
JAMES N. YOUNG, jr.
tion was planned and filmed by Mr. Beach, with a nar-
rative written by Gordon Auchincloss and given by Vin-
cent Connolly.
Designed primarily as entertainment and education,
New York Calling! lays special stress on the historical,
cultural and educational facilities offered by Manhattan.
A brief and attractive introduction brings the visitor
swiftly down the Hudson, along the picturesque Water
Level Route and into the famed Grand Central Terminal.
From there, one's mythical tour ranges from the embat-
tled Battery (where the historic Aquarium is soon to
disappear ) , uptown through Washington Square, the
shops of Fifth Avenue, Rockefeller Center, the Hayden
Planetarium, Riverside Drive, to the far reaches of The
Cloisters, on the heights of Fort Tryon Park. Unusually
attractive sequences feature the Children's Zoo and the
African Plains, recent developments in the Bronx Zoologi-
cal Park, which are ideal subjects for any movie maker.
Copies of New York Calling! are being distributed on
free loan for group screenings, from eleven distribution
points across the country, as noted in the Free Film Re-
views section of this number of Movie Makers.
Experiment in Eulogy
Praise for twenty five years of company service is a
fine thing. But when, in one ceremony, sixty veterans
must be praised one by one, the occasion becomes
lengthy for both employer and employee. In February,
veterans of the Consolidated Edison Company of New
York City were spared, when their tribute took the form
of a film, Men at Work and at Play. The picture showed
the old timers on the job and off, working and living as
they had been doing for a quarter of a century, and it
made the real value of their services to the company more
apparent than could mere spoken words. The film, 1800
feet of 16mm. Kodachrome with a separate musical back-
ground and commentary, was produced by George
Cadenas, of Consolidated Edison's Editorial Bureau.
[Continued on page 217]
199
Virginia Conservation Commission
• Above, Monticello, home of Thomas Jefferson, is good
cine material. At right, scenes from 8mm. color movie,
"Holiday in Dixie," filmed by author.
HOLIDAY
IN DIXIE
8mm. scenes by
Morton H. Read, ACL
How a movie maker both
had it and recorded it
• Restore
which th
FOR more than three centuries, the land south of the
Mason Dixon Line has been storing up glamour, ro-
mance and tradition until today, in its landmarks and
memorials, it is fair game for any movie maker. To some,
the South means a boardwalk at Palm Beach or a casino
at Miami, and to these unfortunates Virginia and the
Carolinas are only the States through which passes the
Ocean Hi-Way, "Shortest Route to the South." But it is
within the boundaries of these very States that the real
makings of a film are to be found.
To be sure, an attempt to reproduce in
movies an atmosphere now almost for-
gotten requires much ground work, for a
movie of a collection of monuments or
markers without story or background can
be a total loss.
I realized this fact and, when I planned
Holiday in Dixie, I consulted every folder
and travel guide about the Old South that
I could find. When I started writing the
outline of the picture, I made a resolution
not to stray from the main subject without
great provocation. The only exceptions that
I made to the rule were human interest
shots which are around every corner in the
South.
My own film was divided into sections
like this:
1. Washington. Introduce the city by an
airplane sequence. Following scenes of the
landing at the airport, take a sequence of
MORTON H. READ, ACL
the city, featuring the memorials.
2. The route south over the Skyline Drive.
3. Lexington, Va., featuring Virginia Military Institute
and Washington and Lee University.
4. Natural Bridge.
5. Williamsburg, Va., the restoration of the 18th Cen-
tury city.
6. Charleston, S. C. and the ancient azalea gardens.
7. Human interest wherever it can be found.
If you want a different treat- [Continued on page 212]
d Revolutionary War fortifications at Yorktown
amateur movie maker can film.
National Park Service
a^*ij(jl
ak
K \ \
!)U 'J 3 LJOl WjJUJ tt ill
...when Camera, Fi
A
GOOD CAMERA, alone, won't necessarily take good movies. It
has the capabilities, all right — if it's in prime operating condition. Yet
no camera is better than the film with which it is loaded.
A good camera in good condition, and loaded with good film —
these are the tools of movie making.
But how will you use them? And what will you do with the film
after you've exposed it? Here is where the right technic is all important.
KNOW YOUR CAMERA IS RIGHT
YEARS treat cameras kindly — if they are given proper care. The
first Cine-Kodaks and Kodascopes, introduced over 15 years ago,
are still giving good-as-new performance to those who have given
thought to their maintenance.
Yet movie cameras and projectors, as is true of all other
precision equipment, need periodic cleaning, adjustment, lubri-
cation. Much of this you yourself can do by following the direc-
tions given in the manuals supplied with your equipment. In addi-
tion, your Cine-Kodak dealer will gladly help out.
Periodically, however, extra attention is needed. A com-
plete overhaul is the wise and economical move.
Authorized repair shops of the Eastman Kodak Company
stand ready to effect complete overhaul of all Cine-Kodaks and
Kodascopes. And ''complete overhaul" means just that! All parts
that need adjustment, and can be adjusted, are adjusted. Other
parts are repaired. Still others replaced. The equipment is next
given exactly the same tests and inspection which brand new
Cine-Kodaks and Kodascopes must undergo — and it is then re-
turned to you, mechanically good as new, completely over-
hauled, and that overhaul backed by Eastman.
Complete overhaul prices are available from your Cine-
Kodak dealer.
ji/jj
vjy:
J
iu jjJiJJiy b'jDL
and Technic ALL are right
.
KNOW YOUR FILM IS RIGHT
ABOUT the most reassuring of all the pleasant
aspects of movie making is to load your camera with
a fresh film, look at your subject, consult exposure
guide or meter, set and shoot — knowing that the
film will make the movie exactly as you planned it.
This assurance is abundantly yours when
you've Cine-Kodak Film in your camera. Wonderful
full-color Kodachrome — "regular" for outdoor
daylight use, or indoors under Daylight Photofloods
. . . Type A Kodachrome for nighttime shots indoors
and out . . . fast, fine-grained Cine-Kodak Super-X
"Pan" for indoor and outdoor movies . . . super-fast
Cine-Kodak Super-XX "Pan" for indoor shots and
movies under weak outdoor light with 16-mm. cam-
eras . . . ever-dependable Cine-Kodak Eight "Pan"
for roll-loading "Eights" . . . and low-cost, high-
quality Cine-Kodak Safety "Pan" for 100-foot
"Sixteens."
Any and all — you know they are right.
KNOW YOUR TECHNIC IS RIGHT
IN movie making the right technic is important when unexposed film is in the
camera — and no less important when exposed film is over a splicing block.
HOW TO MAKE GOOD MOVIES, the best-selling movie mentor illus-
trated on the back cover of this magazine, has already improved the taking
and editing technic of more than 125,000 cinamateurs. It may not tell the
expert much that he doesn't already know, but it's certain to remind you of a
lot you may have forgotten.
And for editing equipment — the unique Kodascope Editor Outfit
shown at the right. It has everything you need to put your best footage forward,
handily grouped into a compact and portable case. Universal Splicer, Koda-
scope Movie Viewer, rewinds, editing tray and bracket, storage space for film
cleaner and extra reels — the Editor Outfit is one of several Eastman editing
units which help you to make your good movies better than ever.
With camera "right," loaded with the right film, exposed and edited to
best advantage — you've got what it takes to make good movies, every time.
EASTMAN KODAK COMPANY, ROCHESTER, N. Y.
WMM m pi ■■
...wfien Camera, Fill, and Technic ALL are right
GOOD CAMERA, alone, won't necessarily take good movies. It
has the capabilities, all right— if it's in prime operating condition. Yet
no camera is better than the film with which it is loaded.
A good camera in good condition, and loaded with good film —
these are the tools of movie making.
But how will you use them? And what will you do with the film
after you've exposed it? Here is where the right technic is all important.
KNOW YOUR CAMERA IS RIGHT
YEARS treat cameras kindly— if they are given proper care. The
hrst Cine-Kodaks and Kodascopes, introduced over 15 years ago,
are still giving good-as-new performance to those who have given
thought to their maintenance.
Yet movie cameras and projectors, as is true of all other
precision equipment, need periodic cleaning, adjustment, lubri-
cation. Much of this you yourself can do by following the direc-
tions given in the manuals supplied with your equipment. In addi-
tion, your Cine-Kodak dealer will gladly help out.
Periodically, however, extra attention is needed. A com-
plete overhaul is the wise and economical move.
Authorized repair shops of the Eastman Kodak Company
stand ready to effect complete overhaul of all Cine-Kodaks and
Kodascopes. And "complete overhaul" means just that! All parts
that need adjustment, and can be adjusted, are adjusted. Other
parts are repaired. Still others replaced. The equipment is next
given exactly the same tests and inspection which brand new
Cine-Kodaks and Kodascopes must undergo — and it is then re-
turned to you, mechanically good as new, completely over-
hauled, and that overhaul backed by Eastman.
Complete overhaul prices are available from your Cine-
Kodak dealer.
KNOW YOUR FILM IS RIGHT
ABOUT the most reassuring of all the pleasant
aspects of movie making is to load your camera with
a fresh film, look at your subject, consult exposure
guide or meter, set and shoot — knowing that the
film will make the movie exactly as you planned it.
This assurance is abundantly yours when
you've Cine-Kodak Film in your camera. Wonderful
full-color Kodachrome — "regular" for outdoor
daylight use, or indoors under Daylight Photofloods
. . . Type A Kodachrome for nighttime shots indoors
and out . . . fast, fine-grained Cine-Kodak Super-X
"Pan" for indoor and outdoor movies . . . super-fast
Cine-Kodak Super-XX "Pan" for indoor shots and
movies under weak outdoor light with 16-mm. cam-
eras . . . ever-dependable Cine-Kodak Eight "Pan"
for roll-loading "Eights" . . . and low-cost, high-
quality Cine-Kodak Safety "Pan" for 100-foot
"Sixteens."
Any and all — you know they are right.
KNOW YOUR TECHNIC IS RIGHT
IN movie making the right technic is important when unexposed film is in the
camera — and no less important when exposed film is over a splicing block.
HOW TO MAKE GOOD MOVIES, the best-selling movie mentor illus-
trated on the back cover of this magazine, has already improved the taking
and editing technic of more than 125,000 cinamateurs. It may not tell the
expert much that he doesn't already know, but it's certain to remind you of a
lot you may have forgotten.
And for editing equipment — the unique Kodascope Editor Outfit
shown at the right. It has everything you need to put your best footage forward,
handily grouped into a compact and portable case. Universal Splicer, Koda-
scope Movie Viewer, rewinds, editing tray and bracket, storage space for film
cleaner and extra reels — the Editor Outfit is one of several Eastman editing
units which help you to make your good movies better than ever.
With camera "right," loaded with the right film, exposed and edited to
best advantage— you've got what it takes to make good movies, every time.
EASTMAN KODAK COMPANY, ROCHESTER, N. Y.
202
Eric N. Unmack, ACL
• Members and guests of the
Westwood Movie Club, in San
Francisco, at recent annual
dinner.
AMATEUR CLUBS
New in Detroit Named after the familiar Flying Red
Horse, of Mobilgas, the Pegasus Cam-
era Club, ACL, has recently been formed among employees
of the Socony- Vacuum Oil Company, in Detroit. First officers
are William N. Royer, president; I. G. Walters, vicepresi-
dent; Mrs. Marie Hamilton, secretary; William Meese,
treasurer. Roland R. Nette is chairman of the membership
committee, with Arthur A. Field in charge of programs.
Meetings are being held on the third Friday of the month,
in the projection room of the company's Administration
Building.
Prizes aid war Poles apart, yet joined in the war effort
of the United Nations, movie clubs in
the United States and in Australia recently have reported
a practice which may well become a tradition of our hobby
for the duration. From the Australian Amateur Cine Society,
in Sydney, comes word that prize monies awarded in their
late annual contest have been returned by the winners for
the purchase of war bonds, while in Philadelphia recently
the first place winner in the contest of the Philadelphia
Cinema Club has returned his cash prize to the club for
donation to the Red Cross. In recognition of this action,
members of the club voted unanimously a substantial addi-
tion to the sum from the club's treasury.
Linden aids defense ^'r Raid, a one reel monochrome
film, produced in both 8mm. and
16mm., has been completed by the Linden Cinema Club,
ACL, in New Jersey, and has been approved by the Linden
Civilian Defense Council, following a preview screening in
the city's Public Library. Production staff for the picture
included Carl Ehrengart, director; Barbara Cavadel, assistant
director; Allan Cavadel and Dr. Emanuel Mandell, 8mm.
What organized groups
are doing ever/where
JAMES W. MOORE, ACL
cameramen; John Kobus, 16mm. cameraman; George Zoer-
ner, electrician; Mrs. Peep Yuhas, makeup; Al Frakas,
property man; Edward Schoenlank, titles. So successful has
been this first volunteer production by the club that the
Linden Defense Council has already requested further films
from the club and is making arrangements for a defense film
budget.
Kenosha Completes film Members and guests of the
Kenosha Movie Makers Club,
in Wisconsin, gathered recently in the city's Historical and
Art Museum for a premier screening of Kenosha, The Gate-
way City, a record study of the community in 16mm. color.
Norbert Roeder, curator of the museum, wrote the original
treatment outline, which was translated into script terms by
W. W. Vincent, jr., ACL, with Lewis Rasmussen, ACL, in
charge of filming. The titling treatment of the picture has
been attractively handled in simulated book form, with each
of the eleven chapter headings introducing a major sequence
of the presentation. The production will be screened locally
by the club before civic and social groups.
Utah's sixth Winning between them four out of six top
places, Al Morton, ACL, and Ted Geurts
swept the two advanced amateur divisions in the recent an-
nual contest conducted by the [Continued on page 217]
• Members of Public Service Camera Club of N. J., at recent meeting at Newark, N. J.
Public Service News
JQhfe
203
YOUR
DRAFT
BOARD
How board's doctor made
film record of his work
Stanley H. Hackman, M.D., ACL
AS AN examining physician of Lancas-
ter County Selective Service Board
No. 4, in the State of Pennsylvania, I have
seen many hundreds of American young
men go through the processes of the Army
draft. As an amateur movie maker, I have
had the privilege of recording that historic
process in some 400 feet of 16mm. color
film. It was not an easy filming job. My
results are not perfect. But they do tell a
factual story of one of the greatest group
efforts ever undertaken by the American
people. I shall never regret an hour of the
many that I spent on this record picture.
My project began with a letter, ad-
dressed to the State Headquarters for Se-
lective Service, asking permission to take
pictures, not only of our own local center,
but also of all the important succeeding
steps until a draftee was actually inducted
into the Army. A week went by, then two
weeks and still no answer.
When, at the end of the third week, I did
hear from Harrisburg, I understood the
reason for the delay. My answer was com-
posed of seven different official forms, car-
rying nine different endorsements. But
they brought me the authority for filming,
right through to the formal oath of al-
legiance of the newly inducted soldier.
I had decided in the meantime to follow,
as far as possible, a representative draftee
from our community through each step of
the process. A scenario had been roughed
out, and "The Boy" was selected by the
time my authority arrived. We had to move
swiftly from then on. The Boy, already ap-
proved in our board medical examinations,
was scheduled to go to Harrisburg shortly
for the official Army checkup. Before that
happened, I had to rush through some
staged scenes, to show him taking our own
draft board tests, [Continued on page 215]
• Frames from the movie
of operation of Lancaster
County Service Board, here
described.
Saeorivc
• Lancaster G
LOCAL BOARD
204
Vke Clime
3=c~^
Revolver smoke made with
white face powder or flour
Technical comment and timely topics for the amateur
KENNETH F. SPACE, ACL
Viewer With movie making equip-
ment becoming more diffi-
cult to obtain, we expect to see great
strides in a drive to "make it at home."
This department of Movie Makers
hopes to be even more helpful than be-
fore, in seeking out and in originating
new methods for doing things with ma-
terials that may still be available to
us and at as low a cost as possible.
The viewer illustrated below, for exam-
ple, cost less than a dollar, with the
exception of the lens, which you may
have, and the light bulb and socket,
which can be found in most homes. All
credit for the viewer shown here goes
to R. W. Hall, ACL, from our neighbor,
Canada, who tells us, "After studying
all the drawings that have been pub-
lished in Movie Makers recently, and
after many trials. I finally built a viewer
that gives me results. The drawing is
almost self explanatory. The box is
made of one eighth inch Masonite for
the sides and of five sixteenths inch pine
for the top and bottom. Pine was used
in constructing the other parts, except
for the base, which is of five eighths inch
plywood. For the lens. I used the //3.5
objective from my 8mm. camera. It was
properly centered and mounted on a
heavy card, to protect the thread, and
I focused it by screwing it in or out.
The film guides are made of light
Manila tag board, held in place with
cellulose tape, and the apertures were
cut to fit the frame size of the film and
were centered on the lens. The frosted
Plan for making a dollar viewer described above
glass viewing screen was mounted in
saw cuts. The front section of the box
is hinged on the left side with a spring
hinge. This arrangement allows one to
place the film easily."
This discussion concludes Mr. Hall's
description, and we should add only a
word. We suggest that velvet be used
to line the film track, so that no
scratches may occur when the film is
drawn through the box.
Stunt Jerry Koutnik, jr., ACL, writes,
"In a small playlet that I
filmed recently, there was a scene of a
revolver shot. I had to use a toy pistol,
but I wanted it to smoke after the shot,
as if it were a real gun. I solved the
problem in the following manner. I had
an assistant blow white powder (I used
flour) from a shallow plate, held at
one side of the gun and a little to its
rear. The camera was quite close to the
gun, so that the assistant and his pan
of powder were outside the field of view.
The result was very convincing."
We present a diagram above to illus-
trate the "stunt," and we point out. at
Mr. Koutnik's suggestion, that the pow-
der should not be blown directly into
the camera lens.
Titler "After seeing your article in
the February Movie Makers,
describing the titler made by A. R.
Bowen, ACL." writes Louis C. Duncan,
"I decided to submit a sketch of the
vertical titler which I made and with
which I have had excellent results.
"I used one inch plywood, because it
is rigid and yet it is easy to work. The
base of the titler is twelve by twenty
by three quarters inches, however, while
the rest of it is made of one inch stock.
The upright is one by four by twenty
and a half inches plus three quarters
of an inch for the base into which it is
mortised, and it is braced with a metal
angle piece, set in beneath. The top or
camera base is one by four by eight
£_,* ,.«. *■ — ™ppo"
-<
<
o
fl
a.
O
5"
-/°)\
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Simple plan for an efficient vertical titler and animation stand
205
and a half inches, into which holes are
drilled for the lens of the camera and
for the viewfinder. On some cameras,
it might be necessary to make the open-
ing for the lens larger, so that expo-
sure and focusing controls may be
reached conveniently. The camera base
must be perfectly squared and level
with the base, and a hole of one quar-
ter inch diameter is drilled in it, to
accommodate a tripod screw to hold
the camera in position. The camera
base should be braced with triangular
pieces of one inch plywood and. a short
distance below them, a pair of small
flood bulbs in reflectors may be sup-
ported on movable arms of wood or
metal, as shown in the diagram.
"By using my Eastman Model 20
8mm. camera with a portrait attach-
ment and by filming at a small lens
opening, I get good depth of field, and
the camera covers an area or title card
field size of five by six and three quar-
ters inches.
"I aligned the camera by fastening
it in place and by putting a flashlight
behind the lens. The illuminated area
on the baseboard outlined the size of
the field and its exact position. Then I
fastened small metal strips on the base-
board, to serve as a guide in placing
the title card."
This vertical titler has a special ad-
vantage, for it provides an excellent
setup for making animated cartoons.
Turntable J- H- Tllbbs- ACL- sent
the photographs of the
excellent dual turntable outfit which you
see here. "\ou may recall."' he writes,
"that you were so kind as to send me
a copy of the booklet. Building a Dual
Turntable. My outfit is now finished and
working in a very satisfactory manner,
and I thought perhaps you might be
interested in the results, although the
plans in the booklet were not followed
closely.
"The motors are General Electric two
speed. The second button from the left
is a switch and volume control for the
amplifier. The three other buttons are
the switches and volume controls of the
motors and tone arms, while the toggle
switch, right rear, take- care of the
microphone, which does not appear in
the photograph. You may note that the
outlets are all mounted on the panel.
This arrangement, I feel, protects the
outlets when the outfit is carried about
in the trunk of my car."
This job looks like a fine one, and
we are glad that Mr. Tubbs changed
our plans to suit his own needs. We
never feel that our suggestions regard-
ing homemade equipment must be fol-
lowed to the letter if the movie maker
wants to modify them. In fact, we think
that individual changes and modifica-
tions increase the usefulness of our
basic ideas. Of course, if Mr. Tubbs
had started with our plan for a dual
turntable and had ended by making a
titler out of it, we might be somewhat
more concerned.
Titles Titles lettered in white on a
black background are quite
satisfactory for most films. Some movie
makers print or letter their titles in
black on a white ground; they then re-
verse these values by using positive film
when they shoot the titles. Other cam-
eramen want to letter their titles in
white on a black background, so that
they can shoot the cards with regular
reversal or Kodachrome film. Arthur
Farrer follows the latter procedure, and
his method is a very efficient one. He
writes. "After planning all my titles for
[Continued on page 215]
Homemade dual turntable in case and, bottom, ready for use
206
NEWS OF
THE INDUSTRY
MacArthuron 16 and 8 The timeliest movie to have
been announced in recent
months by Castle Films, Inc., 30 Rockefeller Plaza, New York
City, is Mac Arthur— Americas First Soldier and Manila
Bombed. Now released, it combines two closely related sub-
jects in one reel and contains tremendous appeal.
This film presents a screen symposium of General Mac-
Arthur's active career up to the period before his sensational
trip to Australia. There are scenes showing MacArthur in
Manila after Japanese airplane attacks.
On the same reel are shots made as Manila burned. Oil
tank explosions, buildings aflame and public structures and
dwellings reduced to shambles are graphically shown. This
special Castle News Release, including shots only recently
released by the U. S. Army, is available at photographic
dealers in 16mm. and 8mm.. in varying lengths, at usual
Castle prices.
Official Films moves Albert Greenfield, of Official
Films, Inc., calls attention to
the change in address of that company. It is now located at
425 Fourth Avenue, New York City.
Vol. I of News Thrills of 1942 has just been released by
Official Films; and, in keeping with the accelerated tempo of
world news events, it inaugurates this company's new policy
of issuing four volumes, instead of two as in former years.
Mr. Greenfield has just received the Insignia of the Na-
tional Order of Honor and Merit of the Republic of Haiti,
from Elie Lescot, President of Haiti. Mr. Greenfield has made
many trips to the West Indies and has done much photo-
graphic work in the Caribbean.
Mineola Fair Contest 0ne of the important